ATRIUM
COLABORARAM NESTE NÚMERO Contributors to this Issue RC, n.° 16, IIIa Série, 4.° Trimestre 2005 RC, no. 16, IIIrd Series, 4th Quarter 2005
TEXTO Texts Ana Maria Amaro David Brookshaw Jin Guo Ping Maria João Pacheco Ferreira Oswaldo da Veiga Jardim Neto Wu Zhiliang Yang Renfei
TRADUÇÃO Translation PHILOS - Comunicação Global, Lda. (Português-Inglês e Inglês-Português)
REVISÃO Proofreading Chao Siu Fu (Chinês), Luís Ferreira (Português), Design Victor Hugo Marreiros Cathryn Hope Clayton (Inglês)
AGRADECIMENTOS A NOSSA CAPA Acknowledgements Em todo o mundo a criação e gostos musicais no seio de uma comunidade são componente importante Livros do Oriente da identidade cultural dessa comunidade. Assim é no caso de Macau, mais propriamente, Museu de Aveiro da cultura macaense – e nesta proposição se inspira a capa de Victor Hugo Marreiros. Revista de Cultura Museu de Macau apresenta um extenso trabalho, baseado numa tese de mestrado do maestro Oswaldo Veiga Jardim, dedicado à história das bandas militares e municipais de Macau (1820-1835). O artigo é complementado com a publicação comentada de um fac-símile do manuscrito original do Macao Hymno, de Melchor Vela, compositor “macaense” nado espanhol, e uma versão modernizada da partitura, documento revelador dos instrumentos musicais usados à época. Da identidade e memória de Macau trata também um artigo que revela e analisa, pela primeira vez, à luz da antropologia cultural, o vasto espólio de um médico aveirense, que aqui viveu e trabalhou nas primeiras décadas do século XX, recentemente colocado à disposição do público no Museu de Aveiro. Esta edição inclui ainda uma secção de Historiografia, fundamentalmente baseada em fontes chinesas que tenta desmistificar o “boato histórico” (para usar a expressão dos autores) sobre alegados actos de antropofagia dos portugueses de quinhentos na demanda do Sul da China.
OUR COVER Across the globe, music making and composition lie at the heart of any community’s cultural identity. This is equally true in Macao, and it is from here that Victor Hugo Marreiros has taken his inspiration to design the cover for this issue which contains an in-depth history of Macao’s military and municipal bands (1820-1835) extracted from the M.Phil thesis by Oswaldo Veiga Jardim. The article is complemented by an annotated facsimile of the original score of “Macao Hymno” by Melchor Vela, a Spanish-born “Macanese” composer, and an up-dated version of the same work that casts light on the instruments used in the period when it was scored. Memories of Macao are also evoked from the perspective of cultural anthropology in an article examining the extensive collection at Aveiro’s Museum (Portugal) that belonged to a doctor from the town who practised his profession in Macao in the early decades of the 20th century. The section on Historiography presents an examination of the Chinese sources to the long-held rumour of cannibalistic practices by the early Portuguese navigators who sailed to South China.
4 Revista de Cultura • 16 • 2005 ATRIUM SUMÁRIO Index
MEMÓRIA E IDENTIDADE * MEMORY AND IDENTITY 6 THE TRADITION OF “BANDAS DE MÚSICA” IN MACAO !"#$ Oswaldo da Veiga Jardim Neto
44 THE “MACAO HYMNO” ! Oswaldo da Veiga Jardim Neto
74 PAIBIAN, JINQI E JINGKUANG. DÍSTICOS LAUDATÓRIOS CHINESES DO ESPÓLIO DO DR. ANTÓNIO DO NASCIMENTO LEITÃO !"#$%&'()*+,-./01 Ana Maria Amaro
HISTORIOGRAFIA * HISTORIOGRAPHY 94 A (DES)CANIBALIZAÇÃO DOS PORTUGUESES !"# $ Jin Guo Ping e Wu Zhiliang
105 OS SHENSHI DE MACAU EM MEADOS DA DINASTIA QING !"#$%&'() Yang Renfei
118 NOTÍCIAS DA SEDA. REFERÊNCIAS À SEDA CHINESA NA DOCUMENTAÇÃO IMPRESSA DOS SÉCULOS XVI A XVIII E SEU IMPACTE NA SOCIEDADE EUROPEIA 16-18 !"#$%#&'()*+,-./012)34 Maria João Pacheco Ferreira
RECENSÃO * BOOK REVIEW 140 BETWEEN CHINA AND EUROPE: PERSON, CULTURE AND EMOTION IN MACAO !"#$%&'()*+,-+!./ David Brookshaw
143 RESUMOS
145 ABSTRACTS
2005 • 16 • Review of Culture 5 MEMÓRIA E IDENTIDADE / Música
6 Revista de Cultura • 16 • 2005 MEMORY AND IDENTITY / Music
INTRODUCTION Though little-researched, wind bands were a phenomenon of great importance in nineteenth- century Europe. Portugal was no exception to this, and such bands played, and continue to play, an important role in Macanese musical culture. Besides the military band, whose origins date back to the early nineteenth century, and which continues to exist today,1 various school bands are also found today, continuing a tradition begun at St. Joseph's Seminary in the late The Tradition nineteenth century.2 As a European phenomenon, the musical band reached its apogee in the nineteenth century. The term, of “Bandas de Música” of controversial origins, probably signifies “troop” (from medieval French “bande”)3 or “banner” (from in Macao the medieval Latin “bandum”, related to the Germanic “bandwa”, “sign”),4 an allusion to the instrumental groups that used to announce the arrival of civil or OSWALDO DA VEIGA JARDIM NETO* military retinues. These groups consisted of trumpet and kettledrum players, and their music was originally very simple. The expression first came into use towards the end of the eighteenth century to designate military groups of woodwind, brass and percussion instruments. In the following century, the designation “band” was also applied to civil groups. The great European monarchies of the nineteenth century typically displayed military bands as a symbol of their superiority and power. In the nineteenth century, a type of repertoire encountered in cavalry regiments (“chasseurs” in France, “Jäger” in Germany), which was played only on brass instruments (mainly horns and bugles) became extremely popular.5 Compared to woodwind ensemble, this new type of The “Passeio Publico”, Lisbon, photo ca. 1870 (private collection of António Barreto, in Maria Filomena Mónica, Eça de Queirós, military band had many practical advantages: the Lisbon: Quetzal Editores, 2001) instruments could withstand bad weather, they could be played while wearing gloves (a compulsory part of military dress), and they were relatively easy to learn, * Born in Rio de Janeiro, Brazil, Veiga Jardim studied Conducting so that one person could play several instruments from and Composition at the School of Music of the Universidade Federal do Rio de Janeiro and holds a M. Phil degree in Musicology from the University the same family. In mid-nineteenth century France, a of Hong Kong, where he is currently pursuing his doctoral studies, focusing highly versatile type of civilian musical band developed his research on the history of music in Macao. He is Guest Adjunct Professor at the Macao Polytechnic Institute’s Arts School and since 2001 has held a seat out of this military prototype which would soon be on the Consultative Council for Cultural Affairs of the Macao SAR Government. imitated in Italy (“banda municipale”), Spain (“banda Nascido no Rio de Janeiro, Brasil, Veiga Jardim estudou Regência e Composição del ayuntamiento”), Portugal (“banda de música”, na Escola de Música da Universidade Federal do Rio de Janeiro. Detentor do grau “filarmónica” or “banda municipal”), and also in Macao de Master of Philosophy (Musicologia)pela Universidade de Hong Kong, onde prepara o seu doutoramento, incidindo a sua investigação sobre a história da música em Macau. (“banda municipal”). The French concert band of the É Professor Adjunto convidado na Escola Superior de Artes do Instituto Politécnico de Macau, integrando desde 2001, o Conselho Consultivo de Cultura do Governo late nineteenth century was much more versatile than da RAEM. its English and German predecessors, possessing a full
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and equally smooth sound thanks to the presence of bankruptcy and state revenues were being consumed woodwind instruments and saxophones which replaced at a lavish rate by the Court, now living in Brazil. the traditional brass instruments in some passages, Popular dissatisfaction with the British presence in softening the shrill and sometimes coarse sound of Portugal was increasing quickly, as was the acceptance military bands until then.6 In Portugal, by the end of of French revolutionary ideals, liberté, égalité, fraternité. the nineteenth century, such bands acquired (and On August 24, 1820, a group of military and liberal maintain until this day) a significant tradition and supporters instigated a revolt in the city of Oporto which popularity. References from the late eighteenth century quickly spread throughout the country. Temporarily, demonstrate the existence, in the Portuguese fleet, of a the government was placed in the hands of a “Junta “música marcial” called “charamela”.7 In 1807, this Governativa” [Ruling Committee], whose task was to band accompanied the Portuguese royal family on their organise elections and prepare a new Constitution; this enforced trip to Brazil.8 One of the most important latter ended up being enacted in 1822 by Dom Pedro exemplars of the Portuguese tradition9 of “bandas de IV, a son of Dom João VI who had returned to Portugal música”, or civic bands (“filarmónicas”),10 which spread in 1821. The Constitution instituted a constitutional throughout the country and played a key role in local monarchy, representing the first great victory of musical education, was the military élite Banda da Liberalism in Portugal. However, the same liberal ideals Guarda Nacional Republicana (actually an emulation also led Dom Pedro to grant independence to Brazil of the French Garde Républicaine). Its origin dates to on September 7, 1822. The loss of that important the Banda da Guarda Municipal, comprised of 45 colony—which had been for many years the seat of players, established in 1838 by decree of Dona Maria II the kingdom—caused many problems; supporters of (r. 1834-1853).11 absolutism, led by Dom Miguel (1802-1866), Dom The secondary literature consulted for the Pedro's brother, started a civil war that would come to present paper, including the New Grove Dictionary of an end only in 1834, with the victory of the Liberals Music and Musicians, fails to approach the subject of and the capitulation of Dom Miguel.13 wind bands in Portugal in any detail.12 However, I The Liberal victory on the battlefield also assume it is possible to explain the introduction of represented a triumph of liberal ideas and, military and municipal bands in Portugal with consequently, of the culture that embodied them. In reference to the cultural influence that France had on the second half of the nineteenth century, French the country, especially from the late eighteenth century culture—mostly through works of Honoré de Balzac onward. In spite of Portugal's political-military alliance (1799-1850), Victor Hugo (1802-1885), Pierre Joseph with Great Britain, which was aimed at restraining Proudhon (1809-1865), Alfred de Musset (1810- French and Spanish attacks during the Peninsular War 1857), Gustave Flaubert (1821-1880), Charles (1808-1814), France remained the great cultural Baudelaire (1821-1867) and Émile Zola (1840- model, which deeply influenced the political, social 1902)—was considered the cultural model to emulate: and cultural reforms that came about in Portugal well a trend which writer Eça de Queirós (1845-1900), the into the twentieth century. one Portuguese intellectual who best understood With the death of Dona Maria I (r. 1777-1816), Portuguese society at the time, came to nickname her son, the prince regent, was proclaimed king as Dom somewhat disparagingly as “francesismo”.14 The João VI (r. 1816-1826). In spite of the fact that Portugal liberalisation of customs, the democratisation of public was now at peace with France, Dom João VI decided spaces such as Lisbon's “Passeio Público” (to which I to remain in Brazil. Furthermore, the British General shall return later), the adoption of republican ideals William Carr Beresford, to whom the military (which culminated with the proclamation of the command of the Portuguese army was granted between Republic in 1910), and the principles of politico- 1809 and 1819, exerted enormous influence on Dom administrative organization which resulted in strong João VI—and, by extension, on the destiny of the entire municipal traditions, were all nourished by this country, triggering unfavourable reactions from “francesismo”. The French Revolution had profoundly significant sectors of Portuguese society. The war changed expectations about social order in Europe, and against France had brought Portugal to the brink of its reverberations were felt throughout the continent.
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Among the rights and benefits henceforth offered to VI of Portugal. There is every reason to believe that citizens were public musical performances, a this is the first surviving record of the performance of phenomenon in which bands, due to their above- a military band in Macao: mentioned characteristics, played a fundamental role.15 The Body of the Leal Senado, composed of its Therefore, it would be reasonable to suggest that this members (…) all went to the great gala dressed may have been the main pathway by which the with capes and white sashes, richly embroidered tradition of musical bands entered Portugal. (…). Before the Senate were the officials of Justice and other servants of the said Senate. Behind them was a company of 40 men MILITARY BANDS IN MACAO (1818 TO 1912) commanded by a captain, lieutenant and junior The history of military bands in Macao is, of officer; at its front was the Music Band of the course, linked to the successive changes in the military Batalhão Principe Regente. (…) [On the way to and political structure of Portugal. Thus, with each the Cathedral] went His Excellency the Governor political restructuring at home we see a change in the and his Staff and before them the Senate Flag band's name, its headquarters, even its military unit. (…) and behind all was the Battalion composed Despite these superficial changes, however, everything of its officers, in the centre of which was the flag would seem to suggest a high degree of continuity, at of same (…) surrounded by the Music Band, least until 1912, when the military band was abolished, which resounded with its echoes the most giving rise to the first municipal band. Although in sonorous and melodious voices.20 my research it was not possible to find a complete list The diary of Harriet Low (1809-1877), which containing the names of every musician, it seems is a record of her stay in the territory between 1829 reasonable to assume, given the small number of people and 1833, contains several references to bands. This involved, that the personnel of the military bands in young American woman, the niece of William Low, a Macao were transferred from one ensemble to another, partner in the trading firm Russell & Co. working in at least as far as the vast majority of players was Canton, arrived on September 30, 1829, in order to concerned. keep the company of her Aunt Abigail in Macao during On July 28 1784, on the instructions of Dona the latter's husband's prolonged absences: Maria I (r. 1777-1816), a battalion of regular troops February 28 [1830], Seven o'clock, Sunday Eve. (Batalhão de Macau) numbering 150 men arrived from (…) I have just returned from seeing a procession Goa with the aim of relieving the existing garrison and (…) In the first place came six or seven men with police force, charged with defending the city and muffed drums, and black silk drawn over their keeping the peace. On May 13, 1810, these troops faces. They were all dressed in black robes. I do were combined with a reinforcement of 400 soldiers not know what they represented. Then followed from Goa to form the Batalhão Príncipe Regente.16 others, bearing a banner with the cross and other Divided into four companies, the battalion was, from banners with Latin inscriptions. One of the men 1816 onward, quartered in the “former Barracks and in front was blowing a trumpet. (…) The (…) in the Monte Fortress”.17 Subsequently, in 1829, military, with a band of music, then citizens, in due to the fact that few friars occupied the extensive the ordinary dress.21 premises of the Convento de Sto. Agostinho,18 the then Although we cannot say for sure, it is likely, based on 400-strong battalion was transferred there. In a the available data, that the “band” mentioned above communication dated April 13, 1831, to the Vicar and on several other occasions by Harriet Low was that Capitular, the Leal Senado determined that the of the Batalhão Príncipe Regente. Low makes further Battalion should be housed in the abandoned College references to musical bands when she describes a vow- of St. Paul's, where it remained until the 1835 fire.19 taking ceremony at the Church of Santa Clara, and a This military detachment possessed a band, a wedding, though without allowing us the certainty that fact that is recorded in a document dated 1818 which we are dealing with the band of the Batalhão Príncipe recounts in great detail the ceremonies organised by Regente or simply one formed ad hoc by musicians the Leal Senado for the acclamation of King Dom João hired especially for the occasion:
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March 18 [1833]. This morning soon after at various commemoration ceremonies such as that breakfast I dressed the bride in white satin, with held for the birthday of the king31 or of some other a lace handkerchief over her neck, and veil on member of the royal family. In addition to these duties, her head. (…) Mr. Latimer sent a band of music these documents also mention the participation of the to play as we returned from church and during “música”32 in other events, for example, at the funeral the repast. Everything went off very well.22 procession of the Macao Harbour Captain, First Naval However, on Saturday, October 24, 1829, Low Lieutenant Pedro José da Silva Loureiro: “(…) a large describes in her diary a view from her summer-house. number of people amongst whom could be seen the Historian Gonzaga Gomes has located her address, province's most eminent figures, both local and foreign, giving us a valuable indication about where the concerts accompanying the coffin to the São Miguel Cemetery, were in all likelihood being held: “(…) where she lived, and a guard from the Batalhão de Artilharia with the at the Russel & Co. residence, which to judge by the musical band from the same corps led by an officer of author's description must have been a splendid similar rank to that of the deceased performed the residence on the Largo da Sé [Cathedral Square], on funeral honours in style.”33 the other side of Travessa de São João opposite the On February 28, 1857, a royal decree34 was Cathedral.”23 Harriet Low, in the following excerpt, issued, changing the Batalhão de Artilharia into the makes an important reference to the regular public Batalhão de Infantaria de Macau [Macao Infantry performances of the band: Battalion]. The band was renamed accordingly, as the (…) From the front of the summer-house we Banda do Batalhão de Macau. From August 1863 to have a fine view of the fort on one high hill. (…) October 1866, the programmes of the public Below we have a view of the town and the beach, performances of the Banda do Batalhão de Macau the Franciscan Church, and the green where the appeared weekly in the Boletim Oficial. ladies walk; and every Saturday evening a band Regular performances were held on Thursdays plays there, which is pleasant. I can hear them and Sundays at what was then called the Campo de from the summer-house. São Francisco (presently the Jardim de São Francisco), A news item about the band appeared in 1843 in the though the articles mention neither the time nor name newspaper A Aurora Macaense with regard to a curious of the conductor nor of any the composers whose works incident that occurred on the night of May 15. A were performed. The absence of this information in sergeant of the guard24 arrested the military musicians the BO could lead us to conclude that the time of the who were performing outside at a party hosted by the performances was already a matter of public knowledge, battalion commander himself, Caetano António de whereas the other points were probably considered of Lemos. The editor of the newspaper protested too “little importance” to merit publication. It has not vehemently against this disruption of a private musical been possible to find any concrete references regarding event: “It [the military band] has, as all Macao knows, the artistic level of this band and its musicians. But it always and at all hours of the night played music at is known that Portugal's first conservatory of music the Campo de São Francisco25 and we cannot therefore was established in Lisbon in the year 1835 at the understand why the battalion band would be found initiative of composer and pianist Domingos guilty and deserve to be arrested while it was quietly Bomtempo (1775-1842). The teaching of music until entertaining the public and obliging the family of its then (outside of private tuition for the more well- commander.”26 heeled) had been limited to religious or charity On November 13, 1845, the Batalhão Príncipe institutions, most noteworthy among which were the Regente was replaced by the Batalhão de Artilharia de Seminário da Sé Patriarcal de Lisboa [Seminary of the 1.a Linha [Frontline Artillery Battalion].27 On several Patriarchal See of Lisbon] which, besides teaching occasions in the following years, the Boletim Oficial28 music theory, called “preparatórios e rudimentos”, also printed what were called “Ordens à Força Armada” offered classes in brass instruments, reed instruments, [Orders to the Armed Forces”, henceforth OFA] which bowed string instruments, orchestral playing, and ensured that the “música do Batalhão de Artilharia”29 singing.35 As this tradition by no means came to a halt would play “reveille and the sounding of the retreat”30 after the opening of the Lisbon Conservatory, it is likely
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that most musicians who were members of military published in the Boletim Oficial (henceforth BO). bands at the time had in fact been trained in religious However, the BO stopped providing regular listings institutions. of the programmes of the public performances, as had Regarding the constitution of the band, Sinzig36 been the practice since 1863. This does not mean, asserts that since 1814 the Portuguese Army had however, that the band stopped performing publicly organised in each infantry regiment a band of eight during those nine years, but rather that for some musicians and one master, called “músicos de praça”. undetermined reason the programmes were not The commander of each regiment, depending on the published. The instructions present in the published importance he gave to music, had the privilege of OFAs are limited during these years to the routine adding extra musicians to the skeleton group, called military functions performed by the band, such as “músicos de contrata” [contract musicians]. When such participating in official ceremonies. additional contracting was forbidden in 1815, the Through the military regulations published in standard number of soldiers in the group was increased 1867 we can gain an insight into the duties of military to eleven, including the master (this is likely to have musicians at the time: the band was permitted to been the structure of the band of the Batalhão Príncipe perform “under private contract” (Art. 51, paragraph Regente founded in Macao in 1818). From then on 3 of the regulations), but it was forbidden for military apprentices began to be contracted,37 with the total bands to accompany “processions, flag-raising number of musicians rising to seventeen. The 1815 ceremonies and public money-raising activities, or to regulation cited by Sinzig mentions the choice of take part in festivals and fairs, except if playing on the instruments: one “requinta” [ clarinet], two clarinets bandstand” (Art. 53 of the regulations); in addition, [probably in ], two French horns, one cornet “those musicians for whom permission has been given (“clarim”), one bassoon, one serpent (“trombão” or to perform in theatre orchestras, or in church festivities, “serpentão”), a bass drum and a snare drum. The may, in these two cases, wear civilian clothing” (Art. enlistment of apprentices enabled the addition of one 55 of the regulations).39 Among other responsibilities, piccolo, two clarinets, one cornet, one bassoon and the “mestre” [conductor] had to one serpent. Although it has not been possible to prepare the score, if this has been given, and confirm with absolute certainty that the Macao extract the parts for each instrument; compose battalion had these particular instruments, I believe it or present a varied repertoire of pieces “de is reasonable to surmise that in the first half of the harmonia” [for woodwinds and brass], marches, nineteenth century the band would have been equipped one-steps and other minor compositions.40 Every with at least the bulk of such a complement of month, he should debut at least one piece “de instruments. It is also likely that the Banda do Batalhão harmonia”, two one-steps and two other lighter de Macau was so composed when it performed before compositions (Art. 51, paragraph 4 of the the French Captain Auguste Montfort during his visit regulations).41 to the territory in the 1850s. Given the ironic tone of By the royal decree of December 2, 1869, the overseas his commentary, however, the technical level of the military units were reorganised: musicians in all likelihood was not very high: The plan to reorganise the colonial military was (…) The music corps of [the Macao] garrison approved. In accordance with Article 9, only the does not give much care or esprit de corps to the Angola, Mozambique and Nova Goa battalions pieces which are performed twice a week under and the Macao infantry are conceded the right the windows of the governor's residence, and if to form bands, and each is permitted 12 the governor is endowed with a musical ear of apprentices. The Macao (Infantry) Battalion has any sensitivity at all, he must have a heroic 1 conductor, 8 musicians, 1 chief bugler, 1 patience for not sending to all the Chinese and corporal bugler and 8 buglers.42 Portuguese devils the musicians that deliver, only The Boletim da Província de Macau e Timor of 1872 to honour him, those horrible sounds (…)38 listed the programme of performances of the Banda Between October 1866 and July 1875 the band do Batalhão de Infantaria de Macau43 for July 7 and continued to be active, as confirmed by the OFAs 11,44 and printed the news of its participation in the
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commemorative ceremonies for the King of Portugal's that would continue for many years, despite, as we birthday on October 31,45 to be hosted by the Viscount shall see, the imminent approach of yet another S. Januário, then governor of the province. One year adjustment. later, in the BO of July 12, 1873, the government's In October 1879, the band changed home and secretary-general announced that the “band of the name: in accordance with OFA No. 40, of October 2, infantry battalion will play on alternate Thursdays at 1879, the “Banda passa a adir à Guarda Policial” [Band the Flora Macaense park and in public at the usual shall be adjoined to the Police Guard]49; the designation hour, beginning next Thursday at the Flora.”46 that appeared in the BO of October 450 revealed its Unfortunately, no information could be found new name: the Banda de Música da Guarnição adida à about the programmes for these performances. It was Guarda Policial de Macau [Garrison Musical Band only in 1875 (from July 3 to September 25) that the adjoined to the Macao Police Guard]. A few days programmes for the Banda de Música do Batalhão de earlier, on September 13, 1879, an announcement had Infantaria were once again published in the BO, this been posted advertising for the acquisition of new time on Thursdays and Sundays. After an eight-month musical instruments, and on the 20th of the same interruption (between October 1875 and June 1876) month it was decided that the funeral processions of the programmes of the Banda do Batalhão de Infantaria commissioned officers and top civil servants would be again appeared regularly in the BO every week until accompanied by music from the Banda da Guarnição. the end of the century. In the following years, the band performed regularly In a charter (“Carta de Lei”) of February 3, 1876,47 twice a week: Sundays in the Jardim Público de São the Batalhão de Infantaria de Macau was abolished and Francisco, and Thursdays “in front of the replaced by a battalion48 drawn from the Regimento Headquarters;” and, between June 1893 and January de Infantaria do Ultramar (or Batalhão do Ultramar), 1894, it went so far as to perform three times a week— a new colonial infantry regiment with permanent on Sundays, Tuesdays and Thursdays. These headquarters in Lisbon. performances lasted no more than two hours each, and Apparently, between October 1875 and June as they were held outdoors the schedule was relatively 1876 the band interrupted its activities, as the BO flexible and adjusted to the climatic conditions of stopped providing regular listings of the programmes Macao: in the summer the concerts were held later in of the public performances. This fact is, probably, the evening to avoid the heat, while in the winter they associated with the abolition of the Batalhão de were held earlier. From November 1892 the published Infantaria to which the band was attached. One month programmes began to include the composers' names. after the 1.º Batalhão do Regimento de Infantaria do Even though it had changed its name to Banda de Ultramar arrived in Macao in May 1876, the Música da Guarda Policial in April 1885, the programmes of the bands' public performances again composition of the band remained unchanged until began to appear in the BO. The band was then renamed November 8, 1895. The fact that the Banda da Guarda as the Banda de Música ‘adida’ ao 1.º Batalhão de Policial held regular concerts, however, did not prevent Infantaria do Ultramar [adjoined to the Overseas counter-initiatives from taking place, as can be seen Infantry Battalion]. In December 1877, the 3rd by the following citation, which describes the farewell Battalion arrived in Macao with the aim of relieving dance held for Counsellor Custódio Miguel de Borja, the existing 1st Battalion. The band accordingly held in the Paços do Concelho (Leal Senado) on the changed its name once again, now to the Banda de night of January 20. On this occasion, the official band Música ‘adida’ ao 3.º Batalhão de Infantaria do performed alongside another group (of unspecified Ultramar. However, a few days later, for some name). The repertoire included quadrilles, waltzes, undetermined reason, the band's name changed yet lancers,51polkas, mazurkas and gallops: another time to Banda de Música ‘destacada’ no 3.º At 9:45, his Excellency Counsellor Borja entered, Batalhão de Infantaria do Ultramar [seconded to the accompanied by his esteemed wife and family, 3rd Overseas Infantry Battalion]. These alterations did and was welcomed at the entrance with the hymn not affect the frequency of performances which, since to his Excellency played by the young amateurs' June 1876, had been taking place twice a week, a habit band. His Excellency was received on the first
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landing of the staircase by the Leal Senado and one quartermaster, three 1st class musicians, four 2nd the entire assembly (…) for the occasion, the class, eight 3rd class, four percussionists, and the “banda da guarda policial” played the national aforementioned apprentices. This structure was anthem. (…) The dance was throughout very lively, maintained until 1912, the year the colonies' military because the two musical bands played alternately bands were abolished altogether. and did not let the enthusiasm wane.52 These figures match those provided by Sinzig,59 With the implementation of the decree of August 16, who states that there was a new regulation in Portugal 1895, the Guarda Policial and the Companhia de in 1872 (which apparently took force in Macao only Artilharia de Macau were abolished and replaced by in 1884) that fixed precisely the same structure of 27 the two-unit Companhia de Infantaria de Macau. The musicians. According to the regulation cited by Sinzig, band was adjoined to the 1.a Companhia de Infantaria the musicians were distributed as follows: one “requinta”, and once again designated Banda de Música da one piccolo, six clarinets, four cornets, two saxhorns Guarnição de Macau. On February 1, 1898, the two or French horns, three trombones, two baritones or infantry companies were reunited and the band became bombardons, one bass, two contrabasses, one bass part of this new unit, Grupo de Companhias de drum, one snare drum, one large drum and one pair Infantaria de Macau.53 of crash cymbals. Once again, it is not possible to In 1901, the colonial military was once again confirm with absolute certainty that the Macao reorganised and, by the decree of November 14, 1901, Garrison Band followed this model. However, given the band was adjoined to the Corpo de Polícia,54 where that it was an official military regulation, I believe we it would remain until 1912, the year in which, by should expect few variations although, due to lack of ministerial decree, colonial military bands were sources of information, doubts must remain over the abolished. Reports in the Boletim Eclesiástico da Diocese true instrumental composition of the band in Macao de Macau tell of the band's participation in religious during the late nineteenth century. processions: “[There was], playing behind the Aside from Low's and Montfort's earlier (and Sacrament's canopy, the police guard band. As usual, perhaps not entirely unbiased) comments, little there was an open air fair and fireworks at night, with testimony is available about the artistic quality of the two musical bands playing.”55 It also took part in the military bands of that period. In the early twentieth annual festival of the Immaculate Conception, in which century, Macao counted about 80,000 inhabitants, of “the musical part was accomplished, during the mass, whom approximately 95 percent were Chinese. Troops by the Seminarians' Capella de Santa Cecilia and, in were recruited exclusively among Portuguese citizens the procession, by the bands from the Corpo de Polícia and, given the lack of local resources, most military and the Orfanato da Imaculada Conceição.”56 detachments were composed of soldiers drawn from the It has not been possible to obtain precise old colonies in Africa or Portuguese India,60 who made information about the constitution of the band in its up the so-called indigenous battalion (“batalhão various incarnations, in terms of the instruments used. indígena”). In Macao, the military bands of the era But study and analysis of the budgets published were generally composed of locally-trained apprentices annually in the BO have enabled me to trace at least and soldier-musicians from other overseas colonies, all the number of musicians in the bands in their various of whom had in all probability been introduced to phases. music at religious schools in those places.61 It is very In 1866 the budget listed expenditures for one likely that their commitment was not always fully music master, eight musicians and twelve music satisfactory, especially to the ears of those just arrived apprentices, along with outlays needed to repair from Lisbon, such as Major Engineer Adolfo Loureiro, instruments.57 As far as it is possible to determine, this who visited Macao between 1883 and 1884: “At sunset structure remained stable until 1884, when the following I went to the public garden, where the police corps categories were introduced: quartermaster, 1st, 2nd and band was playing, as it was Thursday. It is entirely made 3rd class musicians, and percussionists.58 The number of up of natives of Goa, who very sufferably play classical apprentices was now reduced to six, and the band music, Italian works and assorted compositions. The remained with a total of 27 musicians—one master, turnout was small, and among the strollers prowled
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the guard of the garden, who slid about in his loose- the repetition ad nauseam of the same repertoire. Such fitting red gown, like Mephistopheles.”62 justifications—and possible solutions to the problem— Loureiro was not a professional musician; soon appeared: however, his opinion, expressed through the adjectives (…) It has been proven that the regimental band he uses in this text, shows a certain degree of musical has been playing somewhat out of tune, because awareness. Given the various possible glosses on the the instruments are old and by different makers. adjective “sufferable” (e.g., “passable”, “tolerable”), we It has also been proven that the provincial do not know whether the expression “very sufferably treasury does not have budget funds to buy new play classical music” here means “reasonably well instruments. Steps must thus be taken to change played” or is instead a kind way of saying that they this. Either ask the government to provide money “played badly.” In any case, the musical milieu of the to buy new instruments and scores, undertake period seems to have been quite precarious. In another to attract the necessary funds by means of passage, the same chronicler so describes the band that subscription, or impose a tax of one avo on animated a popular festival: “…At the church door a everyone who enters the garden on music nights. dreadful band was playing out of tune, while from a Soon we will have good instruments and good window monstrous fireworks and crackers were music.65 bursting.”63 Regarding the question of the composition of the A few years later, in 1897, the situation seems military band, Cação and Basto da Silva66 include the not to have changed in any significant manner. The categories of bugler (“corneteiro”), corporal bugler public's tolerance for poor playing, and lack of general (“cabo de corneteiro”), principal bugler (“corneteiro- interest, may have convinced the musicians that there mor”), and quartermaster bugler (“contrameste de was no need to evolve. The situation must have reached corneteiro”) as the elements of the band. By summing a point that was unbearable in order to have provoked up the numbers of individuals in these categories, Basto the following comment from the Echo Macaense da Silva concludes that, in 1895, the band had forty newspaper: members—clearly a misleading number. It is known The public complained, quite rightly, that the that within the military structure, buglers played an current Macao musical band plays out of tune. eminent role, in terms of signalling, playing the reveille When Mr. Alleluia conducted the band, it played and the retreat, leading parades, and similar activities. reasonably well, although the public said it was Bugling was thus a specific function that did not bad, because it did not play certain main notes necessarily involve a continual exercise of musical well. The master's retirement was thus awaited, activity. This error is largely due to the fact that in the and was on the eve of happening; and with the annual budgets of the Portuguese military forces, as band conducted by the then quartermaster, Mr. well as in the relevant regulations published in the BO, Mascarenhas, things were expected to go better, such categories, though not integrated in the band, as the latter was held to be very knowledgeable are listed after the musicians. Nevertheless, careful about music. But unfortunately the opposite study of the Regulamento Geral para o Serviço dos Corpos happened, and the band has never played more do Exército [General Regulations for the Service of out of tune than it does today.64 Army Corps], published in the BO on March 18, 1867, Besides the names of the master and quartermaster (Mr. clearly reveals the difference between the category of Alleluia and Mr. Mascarenhas), this excerpt also reveals musicians (“músicos”) and that of drummers, buglers that the band's meagre budget probably was barely and clarions (“tambores, corneteiros e clarins”).67 The enough, and perhaps truly inadequate, to maintain the latter were responsible for the “regularity and instruments, let alone to acquire new scores. From the preciseness of command calls.68 preceding quotation, penned by Adolfo Loureiro, we English traveller and journalist Sir Henry also learn that in 1883 the “turnout was small”, which Norman (1858-1939) gave an interesting description suggests a general public disinterest and apathy that in of Macao in the late nineteenth century, mentioning such circumstances was perhaps even justified not only the performance of buglers at reveille and retreat: “On by the tuning problems dogging the band, but also by Sundays and Thursdays the band plays in the public
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gardens, and surely nowhere in the world do the buglers budget of the Leal Senado da Câmara of Macao for linger so long over the reveille and the retreat as they 1913]. This document was submitted on February do here every day.”69 18, 1913, by the President of the Senado, José Luís Marques, for approval by the Conselho Municipal,70 and requested sufficient funds to cover the expenses THE MUNICIPAL BAND AND MUSICAL LIFE of the band (calculated at $12,682.80 patacas).71 Thus IN MACAO (1913 TO 1928) from February 16, 1913, the Leal Senado began Worried about the future of the local band and, paying the wages of the members of the ex-military above all, about its impending abolition, the Leal band. In a letter to the governor dated February 19, Senado sent a petition to the Ministério das Colónias 1913, the President further requested authorisation [Ministry for the Colonies] in Lisbon, in an attempt to acquire musical instruments directly from to prevent the decree from being applied to Macao. Germany, contrary to the stipulation in Article 8 of Although no formal answer was forthcoming, the the decree of July 20, 1912, requiring that instruments minister for the Colonies sent a telegram in which he for civil bands under municipal authority be supplied declared that a subsidy would be available, though through the Ministério das Colónias.72 The source of no amount was specified. In order to fully understand income stated in the Leal Senado budget underwent the consequences of the decree abolishing military bands, I consulted the “Relatório Elucidativo do 1.º Postcard (ca. 1900) of the São Francisco Public Gardens showing the bandstand orçamento suplementar do Lial [sic] Senado da where military bands frequently performed. According to Basto da Silva, in Cronologia da História de Macau, vol. 4 (Macao: Direcção dos Serviços Câmara de Macau, relativo ao ano de 1913” de Educação e Juventude, 1995), p. 294, this bandstand was demolished in 1935. [Explanatory Report on the first supplementary Courtesy of Livros do Oriente, Macao.
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some alterations, which were approved in an Administrative Code of 1842 to be implemented in extraordinary session on March 1, 1913. Despite Macao, should designate a municipal tax, a 25% surcharge expectations to the contrary, the Leal Senado would on the revenue from pork sales, for example.”81 only receive the amount of 5.474$350 escudos from Finally, on November 1, 1913, the Ministry for the Ministério das Colónias. As it was not clear the Colonies made available some extra funding which whether or not this subsidy would be permanent, the enabled the band to continue functioning.82 The President solicited, via the Governor of Macao, budget for that year provided for a band with one clarification from the minister.73 The ministry's master and twenty musicians. Despite the financial response arrived much later, only after the Leal difficulties it faced, sources indicate that the Municipal Senado had already proceeded with “the revamping Band participated in the fiesta of Nossa Senhora do of the band due to the pressure of public opinion”.74 Rosário (on October 7) and in the Corpus Christi This statement reveals how important the procession that same year.83 performances of the municipal band had become for In an extraordinary session on August 27, 1915, the population at the time. The revamping, which the Leal Senado approved a new wage structure for was aimed at putting the “band in a position whereby the civil musicians of the Municipal Band, placing it can adequately perform the functions with which them on equal footing with military musicians. Thus, it has been charged, that of civilising and entertaining the monthly wage of one Musician Second Class was the public”,75 also entailed repairing “old instruments, fixed at 45 patacas; that of six Musicians Third Class, still in use but semi-obsolete”,76 drawing up a set of at 35 patacas; and that of an Auxiliary Musician at 25 regulations for the band, tailoring a “new uniform patacas. At that time, the band held rehearsals on the for the musicians … [and] the installation of Rua de São Domingos near the Largo do Senado.84 In electricity in the two bandstands in the public addition to giving concerts in the public garden, it gardens”.77 Of particular interest is the involvement also performed privately and for local associations, of Constâncio José da Silva (1864-1947), a member such as the Club de Macau, as well as for charity of the Conselho Municipal, who would later come events, e.g., to benefit wounded Portuguese war to play a leading role in the development of music in veterans, whose numbers were increasing on the Macao. From remarks made by the President of the Leal various European fronts: “… on behalf of the Red Senado, his involvement was already evident: “… the Cross, the brave sailors of the gunboat Pátria will, band is more professional due to the determination next January 6 (1917), give a ‘récita' at the and artistic ability of the Councillor presently Cinematógrafo Vitoria, which will be enlivened by responsible.”78 the Municipal Band of this city.”85 Macao was Indignant at the budget cuts imposed by the geographically far from the war that ravaged Europe ministry in Lisbon, José Luís Marques sent a letter to from 1914 to 1918, but nevertheless felt its the interim Governor on May 9, 1913, disclosing the repercussions. The territory was then largely financial difficulties of maintaining the band and the dependent on decisions made by the central need for the minister for the Colonies to ensure greater government in Lisbon. The latter was more concerned financial resources: “the Leal Senado feels that the about the European crisis and perhaps more attentive ministerial resolution represents an unmerited lack of to the African colonies; at any rate, no salary raise consideration for this municipal corps and for the had been offered to local civil servants for a long time. people of Macao, worthy of the highest consideration The Municipal Band nevertheless continued its from the powers that be.”79 The band's importance as performance rounds, always closely watched by the the “only form of free entertainment that we have”80 is public, for whom no detail was too small to be missed, stressed in various places in the letter from the President as can be verified by the following comments: of the Leal Senado. Indeed, Marques brought up this They ask us to call the Leal Senado's attention to subject on several occasions; anticipating a negative the way the municipal musicians are dressed, when response to his insistent requests for greater funding, they play at private parties wearing plain clothes. he went so far as to suggest that “the government, in They appear with such variegated colours and line with its new responsibility and according to the toilettes as to cause a bad impression. Elsewhere,
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even village bands have their own uniforms for Jardim de São Francisco, another public garden where when the musicians perform together.86 the bands performed: “…in the evenings, the Governor The holding of three weekly concerts indicates the and his family could be seen, elegant society gathering renewed importance given to performances of the together while the Police Band played the Gazza ladra90 Municipal Band. The newspapers faithfully reported by Rossini and other old melodies which, if they did all changes of time or venue, which as usual occurred not excite attention by themselves, contributed to make with the change of the seasons: “The ‘música’ [band] the garden a meeting point of high society.”91 in the São Francisco public garden will henceforth play The social life of members of the European on Thursdays and Sundays from 4 p.m. to 6 p.m. in community in Macao was, in many aspects, influenced winter, and on Tuesdays at the same time on Avenida by the traditions of the Portuguese capital. In the social Vasco da Gama.”87 context of Lisbon in the second half of the nineteenth The choice of venues was not left to chance: it century (when attending the opera at the S. Carlos Theatre depended on the weather, the residents' convenience, was also a must), the “passeio” [promenade] filled the and the habits of the era, which included salubrious need for amusement and gave occasion for the bourgeoisie walks (“passeios higiénicos”) after meals. The Avenida to exhibit their fashionable outfits while socializing with Vasco da Gama,88 with its 600-metre length, stood out intellectuals, artists and the aristocracy.92 Therefore, it is for this purpose. Closed at one end by a garden (where possible to surmise that in Macao, the Vasco da Gama the band performed) and at the other by the monument dedicated to the Portuguese navigator, it was one of the most frequented promenades in Macao.89 In 1930, Avenida Vasco da Gama, Macao, photo ca. 1910 (postcard, Colecção Colonial Marques Pereira and Pires Marinho, João Loureiro, the chronicler of the Jornal de Macau described the Macau – Postais Antigos, 2nd edn., Macao: Fundação Macau, 1997, p. 38)
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and São Francisco Public Gardens played a role similar colony. He thus felt capable of taking up the post of to that of the Lisbon “Passeio Público,”93 but with the director of the Macao Municipal Band. At the same bandstand replacing, as it were, the opera stage. time, as he had business representatives in Macao,100 it The band director at that time was the Macao- was natural that he should contemplate the possibility born Second Lieutenant Eusébio Francisco Placé of furthering his mercantile interests with the Leal (1870-1945). In 1909 and 1910, Placé, then Senado via the sale of instruments and scores to the quartermaster, travelled to Lisbon, sent by the Macao new band. In a letter of April 1, 1919, addressed to Government to perfect his musical training and take the Leal Senado, he offered his services “for the monthly the customary examinations required for the position salary of $225.00, with a five-year contract”.101 On of master.94 This step once again reveals the April 21, the president of the Leal Senado's Government's interest in having a musical band with Administrative Commission suggested a meeting the correct qualifications. In 1917, however, Placé between Costa and the Council members responsible unexpectedly abandoned the post; according to Basto for the band.102 We do not know the outcome of that da Silva, the band was subsequently led by the Military meeting. However, from then on, relations between Musician First Class Sant'Ana Caridade F. Matias. Next the Leal Senado and Isidoro Maria da Costa were came the Military Musician First Class João limited to matters concerning the acquisition of Damasceno Fernandes, likewise a holdover from the instruments and scores. old Banda de Música da Guarnição de Macao, who On July 5, 1919, Luiz Gonzaga Nolasco da Silva held the post until 1919. Both of these men were born communicated to the governor that “with the objective in India.95 of improving the Municipal Band, so that it might be It is no exaggeration to state that, despite the of some benefit to the public, it was decided to appoint distance that separated Macao from Europe and from Mr. Constâncio José da Silva to revamp and conduct other westernised Chinese cities such as Shanghai and the said Band”, thereby releasing Eusébio Francisco Canton, the local population had relatively refined Placé, who was on extended leave, from his duties.103 tastes. The enjoyment of music was therefore a frequent In the letter of invitation to da Silva, the Leal pastime in amateur circles. This may have resulted in Senado set out various conditions for the nominee's part from the influence of professional musicians living assumption of the position,104 committing itself in return in Macao, such as Luigi Antinori (1816-1873) and to provide a salary of $200 a month, approximately Giuseppe Penatti,96 former music teachers at St Joseph's double what the musicians earned.105 In previous years, Seminary. It was thus not unusual to find da Silva had been a civil servant for the government, advertisements for private music lessons97 in the and in such a small milieu as Macao (where almost all newspapers, as well as for concerts and dramatic- Portuguese citizens knew each other),106 it would only musical soirées in which amateurs as well as professional be natural that the written invitation would have musicians from the Municipal Band performed. followed informal conversations. Indeed, some of the Everything seems to indicate that during this conditions imposed by the Leal Senado for the position period, the Leal Senado had real interest in revamping seem to have been entirely in agreement with da Silva's the band. In a letter of March 28, 1919, addressed to own wishes, such as the exemption from wearing a the merchant, music teacher, and Hong Kong resident uniform (clause 1) and from accompanying the band Isidoro Maria da Costa (1870-1937),98 the president on marches (clause 4). But the condition that is of the Leal Senado's Administrative Commission, Luiz particularly noteworthy is that which proposes Gonzaga Nolasco da Silva, inquired about the costs of transforming the band into an orchestra: “[The acquiring instruments “for a band of 26 members”, contracted party should] prepare the band in such a purchasing scores, and hiring “a bandmaster of Filipino way as to transform it into an orchestra, with the nationality”.99 obligation of giving public concerts in the Council Hall Isidoro Maria da Costa had several years of (“Salão Nobre”) every Sunday during the winter.”107 experience and in 1918 had been decorated for his Constâncio José da Silva thus seems to have aspired to service by the Hong Kong government. Since 1915 he form an orchestra in Macao and, as is obvious, it would had been master of the Police Reserve Band in the British not do for a chef d'orchestre to parade about the public
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gardens in uniform. This much can be seen from his Strangely, and unexpectedly, a few days later, reply to the letter of invitation, dated July 11, 1919: on July 16, 1919, a contract was drawn up between (…) I shall take it upon myself not only to the president of the Leal Senado's Administrative reorganise the band, but also to teach, rehearse Commission and Alessio Benis, music director of the and lead it for the sole remuneration of $200 (…), Royal Italian Circus “Bostock”, which had performed though with no other obligation but to lead the in Macao110 in July 1919, in which the latter was hired orchestra in the concerts it is obliged to give, and as conductor of the Municipal Band for a period of on the condition of my replacement as band leader two years, at a salary of $200 patacas per month, under in (…) public places by the quartermaster (…). the condition that he “take up the position of conductor [These are] thus the conditions under which I of the Municipal Band within forty-five days.” The would accept directing the Municipal Band…108 situation caught the manager of the circus by surprise; The letter goes on to discuss the current musicians' in a letter111 to the Governor of Macao, he desperately lack of preparation, nevertheless stating that he hoped pleaded the Macao government not to hire his to have the whole orchestra (“orquestra inteira”) in place employee. Despite the beseeching letter from the circus by January or February of the following year, and that manager, the Leal Senado lost no time in responding he did not mind beginning immediately with a small to the governor: “…the contract with Mr Benis is temporary orchestra, drawn from the “few useable already drawn up and must be fulfilled; the elements from among the existing personnel and with Commission has nothing to do with his [prior] a pianist hired for that purpose…”. He ends the letter commitments, and did not charge him to hire by asking the Leal Senado to hire six musicians to musicians from the circus.”112 assume the primary positions in the future group: one Alessio Benis, an Italian, was 44 years old and clarinet, one cornet, two violins, one cello, and one married when he came to Macao. He played the double-bass, which “I suppose can be contracted in clarinet, and the comments in reports by the Leal Portuguese India at $75 or $80 [patacas] per month”. Senado suggest that he was well versed in music.113 He He estimated that the total outlay for acquisition of was most likely attracted by the $200 pataca monthly scores and instruments would be $1,500 to $2,000 salary offered by the Leal Senado and by the possibility patacas. of giving up, for a period of two years, the nomadic It is not possible to determine the size of the life of a circus musician.114 His hurried acceptance of “orquestra inteira” [whole orchestra] that Constâncio the offer and the tests he was subjected to under José da Silva had in mind. The number of musicians extremely adverse conditions undoubtedly reveal his he requested and the presence of a piano suggest not a decided willingness to accept the post. On Sunday, symphony orchestra, but rather a salon orchestra of July 13, 1919, the band members gathered in the Leal the type that was common in nineteenth-century Senado's Council Hall (“Salão Nobre”), along with a Europe. In any case, the Council Hall of the Leal jury comprised of Manuel da Silva Mendes, the Salesian Senado (where concerts were held in winter) did not father José da Silva Lucas (as translator), Major Alípio have enough space to hold a large symphony orchestra. Ubaldy d'Oliveira, and Humberto de Avelar. Using a The planned orchestra was therefore probably meant low-quality clarinet, Alessio Benis played with the band, to have livened up the ever-more frequent evening led by the quartermaster Damasceno Fernandes,115 in a dance parties, receptions and banquets among the number of variations on themes from the Bellini's opera Portuguese community. La sonnambula. In the next test, he conducted, without José da Silva's letter appears to have attracted no rehearsal, a selection from the opera Cavalleria rusticana official reply from the Leal Senado. Perhaps put off by by Mascagni. Lastly, he presented some exercises of the scope of the project, the members of the Council Harmony in response to questions116 posed to him. In did not agree to support it. A laconic handwritten the end, the jury concluded that comment on the letter's first page nevertheless reveals it should advise the Leal Senado not to hire the the final verdict: “Since he didn't accept the candidate (…) on a lifelong basis, albeit noting Commission's conditions, nothing done. Refusal the advantages of conferring upon him direction accepted.”109 of the band for a more or less short period, which
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should be extended if future tests, in other A few days later, during the Government Council conditions more favourable for presentation of meeting of December 28, 1920, despite the objections the candidate, are conclusive.117 of Fr. Jacob Lau,121 then a member of the Government The decision to hire Benis seems not to have pleased Council, the Municipal Band was abolished.122 The everyone, however, as can be seen by the ensuing military musicians in the band were taken back by their controversy between the newspapers O Liberal and O respective units, while the civilian members were Macaense. The former was in favour of contracting dismissed, as they did not have any written contracts Constâncio José da Silva instead of Benis, while the with the municipality. The instruments were sold in a latter was against it.118 Although he signed a two-year public auction on May 21, 1921.123 Alessio Benis's contract, Alessio Benis ended up working as band contract was honoured until its expiry. He continued director only from July 1919 to January 1921. According to reside in Macao at least until April 1921 when, in a to the law then in force, the contract could only become letter addressed to the president of the Leal Senado, valid when it had been approved by the provincial he asked for his contract to be terminated, so that he government and voted on by the Government Council. could absent himself “to search for a position”.124 To Through an error, this only took place one and a half facilitate the process, Benis suggested that taxes be taken years later, during the Government Council meeting out of his salary up front, reducing from $1,000.00 to on December 2, 1920. During this same meeting, $550.00 patacas the total amount he was to receive Nolasco da Silva, now Vice-President of Leal Senado, for the period from April to August 1921, and the total explained the reasons for engaging Alessio Benis: amount to be paid as a lump sum. On April 9, 1921, (...) the Municipal Band was in a truly deplorable the Leal Senado agreed to this request.125 That is the state. The Band's conductor, on leave, was last reference found to Alessio Benis in Macao. working in the merchant marine and had been An analysis of the documents on the acquisition replaced by a first-rate musical conductor, whose of musical instruments126 provides us with an idea of contribution to the running of the Band was the band's intended composition during this period. [however] negligible. The opportunity arose to Everything indicates that two orders were made to the hire an Italian and the Administrative firm of Isidoro Maria da Costa. The first shipment Commission did so at a monthly salary of $200, arrived on May 22, 1920, and corresponded to an order which represented a savings for the City Treasury made on August 16, 1919.127 Curiously, this shipment as the former conductor, a second lieutenant, contained string instruments, confirming the Leal was earning three hundred and something Senado's intention to form a salon orchestra. Due to patacas. As for the contracted party's [Benis's] ideological affinity between the director of O Liberal, technical ability, I believe it is for all to see. He António Martins da Silva, and Constâncio José da Silva has worked hard to raise the standard of the band, (both were Republicans and Liberals), the weekly which if found wanting is due to the difficulty closely followed everything that happened with the of acquiring top or first-rate musicians, whose band, recounting (with an ironic touch) the arrival o places are [instead] filled with second-tier the instruments in its edition of May 22, 1920: military musicians.119 The new instruments for the band have arrived, However, few days later, in the council session of [which were] ordered several months ago from December 18, 1920, the Leal Senado approved the America via Messrs. Costa & Sons of Hong Kong. abolition of the Municipal Band and exempted Alessio (…) But it must be said, and is indeed only fair, Benis from any blame. It alleged a lack of funds to that [the] unusual idea of ordering 6 cheap fiddles, meet the voluminous costs of a band whose the kind that sell for $15 or below (…), for the performance, due to the lack of qualified musicians, Municipal Orchestra was not born of the brain of was disappointing.120 Mr Benis, who should in any case have been consulted on the matter, but came rather from a Reproduction of the first page of the letter signed by W. H. Treherne, manager member of the former Administrative Commission, of the Royal Italian Circus “Bostock”, on paper stamped by the same. Arquivo Histórico de Macau, Fundo de Administração Civil, P-7295. The author of the who understands as much about musical letter erroneously refers to the Municipal Band as the Macao Municipal Orchestra. instruments as we do about making olive oil.128
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After the arrival of this first order, Alessio Benis drew Benis, often labelled the “circus musician”,134 was up (in a document dated May 26, 1920), a new list of openly criticised in the newspaper O Liberal: instruments that he held were still needed for the band It seems that even though the WHOLE band and orchestra. However, no Leal Senado documents has been requisitioned for today's soirée at the exist that can attest to the arrival of the new shipment. Military Club, the dancers are still upset because There is only a quotation provided by the same Hong they detest it (…) What surprises us is that Mr. Kong firm, dated July 9, 1920, and a letter of August Alessio Benis, who has led the municipal band 30 from Alessio Benis, requesting the list of the for more than eight months, still does not have “recently arrived” instruments.129 it ready with a repertoire that is modern and Many factors can explain the Leal Senado's suitable for dances. He has had plenty of time to decision to abolish the Municipal Band. The presence order from America a good set of the waltzes, since 1912 of soldier-musicians in the band caused many fox-trots, one-steps, etc., that are currently in problems for the Council, namely with regard to their vogue, and which in any case cost only a trifle— salary and benefits, which were substantially higher than and yet, the municipal band has none of this!135 those of the civilian musicians. Besides earning more, Period reports, however, indicate that Benis seems to the soldier-musicians were entitled to a variety of benefits have been dedicated to the work. His first appearance including leave and extra pay. The discrepancies between as “mestre” [bandmaster] of the Municipal Band was salaries were such that on October 17, 1919, the on September 11, 1919, at a concert in the Jardim de president of the Leal Senado issued an opinion advising São Francisco in which he conducted, among other that “the Council should ensure that as soon as possible pieces, one of his own compositions, the military march the current soldier-musicians are replaced by musicians “L'arrivo a Macao”,136 probably written especially for drawn from the civilian class”.130 This situation, along the occasion. Besides the band's standard repertoire of with the difficulties of adapting military legislation to polkas, waltzes and marches, Benis, between September the exercise of functions in a civilian band, led to the 1919 and December 1920, tried to introduce creation of abundant documentation, via which it was something new to the local audiences through the possible to recover some details of how the Macao presentation of original compositions and municipal band worked in the period between 1917 arrangements of his own.137 However, he became and 1920.131 increasingly unpopular, perhaps victim of an The band at the time comprised the master and 25 ideological controversy (Monarchists versus musicians, distributed as follows: one clarinet Republicans) that was beyond him. In May 1920, he [“requinta”], one piccolo (or flute), six clarinets, four proposed to the Leal Senado that the band's musicians cornets, two baritones, one bombardon, two trumpets, be forbidden from playing at night in the private two trombones, one bass [bass tuba], one contrabass orchestras that enlivened the evening dances and [contrabass tuba in C or ], one bass drum, one snare cinema sessions. The tone of the criticism sharpened, drum, one large drum, and one pair of cymbals.132 It has and he was accused of inefficiency, given that the band also been possible, from an analysis of the payroll for the had not been revamped and the orchestra had not soldier-musicians, to conclude that these musicians came materialised as planned. In fact, it seems that the band primarily from Portuguese India and Macao. had too many gaps in its ranks; in a letter Benis sent to Starting from the premise that the band had 26 133 members, then, the soldier-musicians, though “O Famoso Trio” [The famous Trio]. Cartoon published comprising less than half the band, accounted for nearly in O Liberal, 15.I.1921, p. 3, criticising the demise of the Municipal Band due to poor management and the misuse of funds. The three figures portrayed are most half the annual budget. This imbalance was resolved probably members of the city council (two of them tentatively identified as Luiz after December 1919 with the gradual return of the Gonzaga Nolasco da Silva, Vice-President of the Leal Senado in 1920 [right], and the Major Alípio Ubaldy d’Oliveira [left]. The figure playing the harmonica soldier-musicians to the Corpo de Polícia, although has not yet been identified). The caption reads, “The Municipal Band was abolished and very soon the organ of the Chi-chi-ui” [literally “trash club”, this measure deprived the band of professional nickname given to the conservative newspaper O Macaense, opponent of O Liberal] musicians who were technically better prepared. The will be closed. The advertised ‘sextet’ cannot be formed because of a lack of musicians, public felt the difference. And, as if the controversy but the famous Trio intensively rehearses a new repertoire, which will certainly between the newspapers were not enough, Alessio amuse the public.”
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the Leal Senado on September 22, 1920, he protested 1920 the population was surprised to learn of the that he would not “be responsible for public criticism” band's extinction. Reactions in the papers soon if musicians were not urgently contracted to fill the followed, sprinkled with the bittersweet humour so gaps: a “requinta” (clarinet in ), a clarinet soloist, a characteristic of the local culture: trumpet and a bombardon. Besides, he felt “ashamed” Cry girls, cry. / For the Band has died. / Such a to be leading a band in such a precarious condition. death so sly, / Macao has never known. (…) Its death The Leal Senado, in was sly (“macaca”) and the same municipal I don't think I'm session, approved the mistaken, for it died issuance of a public right after travelling tender to contract to Hong Kong and new players.138 Even Canton to exhibit though two itself, to show that we apprentices—João have a Band here Evangelista Kuoc and which had recently Simão Kuong139— received new were hired on instruments and, as is November 6, 1920, known, for which the the criticisms did not Council had ordered abate. The critics more, and had only alleged that, in spite recently arranged a of the announced suitable house; measures to indeed, just when we reorganize the band, all thought it would the Leal Senado had have a new life (…) spent the substantial Do what you want, sum of $35,000 and, as “sorrow pays patacas over the past no debts”, play to fourteen months, yet laugh, play to rejoice: the band had, “far On the anatomy table, from becoming / Lays a body dead, / organized and Because the cash- improved, reached stripped council, / such a state that it Cast away the band.142 could hardly gather a Apparently group of musicians to frivolous, this entertain a dancing party.”140 Given the content of the criticism in truth hid more serious concerns, as can be criticism, it is reasonable to speculate that Constâncio noted in subsequent editions of the same newspaper, José da Silva exercised via the press a certain degree of when it commented on the situation of music bands pressure among those who sympathised with him. in other Portuguese colonies, particularly in Goa and However, Benis and the officials of the Leal Senado Mozambique: “While in Lourenço Marques and still tried to obtain some outside recognition by sending Portuguese India the upkeep of the Music Band is subject the band to Hong Kong and Canton to take part in to a great deal of attention and care on the part of the commemorations of the birthday of King George V of respective Governments, in Macao the matter is viewed England. The English consul in Canton, Edward Sly, with an indifference that is at times disgusting.”143 attested to the tour in a letter to the Macao governor, With the abolition of the Municipal Band, in published in the newspaper O Macaense.141 In the wake 1921 the Leal Senado petitioned the governor to create the expectations created by such actions, in December a military band. On August 16, 1923, the Grupo Mixto
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de Metralhadoras e Infantaria [Joint Machine-Gunner teaching duties, the teachers would also be obliged to and Infantry Group], known as the GMMI, was play in the band. They were to be paid in accordance formed; and in 1924 it was announced that the Musical with the table of earnings in force for the posts of Band of the GMMI would participate in the October sergeant, lieutenant and second lieutenant, respectively, 5 commemorations.144 During the period between then considered to be the most advantageous in the 1921 and 1924, there are no reports of the existence colony's public service. The project anticipated that of any official musical ensemble. However, all evidence the band would have 36 performers and 10 apprentices, indicates that the former band's musicians continued all paid positions, and that it should function on the to be active, either in public gardens or in cinemas, same premises as the music school. To raise funds for clubs and recreational associations.145 In 1922, one the costs of this project, Article 10 of the same proposal newspaper described these performances: “At night, suggested that a number of police taxes be imposed on in this garden [of São Francisco], a small band means of transport and on business and industrial organised and led by Mr. Assis played to applause all signage. In the council session of April 11, 1923, the round from a lively public audience.”146 Later, that project attracted no comment. Councilman Domingos year, on November 18, a small 14-member orchestra Gregório limited himself to criticising the colony's conducted by Constâncio José da Silva participated governor for interfering in municipal affairs, finding in a benefit recital at the Dom Pedro V Theatre.147 it strange that “the Government should draw up such This orchestra comprised four violins, one flute, two an article, levying taxes in the Council's jurisdiction, clarinets, two cornets, one trombone, one contrabass, for such licences are municipal and not issued by the piano, organ and percussion, and was made up of police”.153 A year later, the newspapers reported that both professional and amateur musicians, among the Ministério das Colónias in Lisbon had rejected the whom were some of the former band members, such proposal.154 as Agostinho Francisco de Assis (cornet), Manuel Pereira Lopes (clarinet), Lúcio Anselmo Carion (contrabass), and João Xavier (trombone). The group It is no exaggeration also counted among its ranks pianist João Maria Franco (1893-1940),148 who since 1919 had been to state that, despite the distance playing and hiring musicians for the orchestras of the that separated Macao from New Macao Theatre (or “Novo Teatro de Macau”)149 and the Vitória cinema. In the years that followed, Europe and from other businessman João Franco would play a fundamental role in the local music scene, filling the gap created westernised Chinese cities such by the absence of the official band.150 as Shanghai and Canton, The regular band performances were missed. Complaints began to surface in the newspapers, the local population had comparing the “monotonous, insipid life” of Macao with that in the neighbouring colony of Hong Kong, relatively refined tastes. which had, “besides three military bands, some eight orchestras, playing in public places”.151 These comments seem to have had repercussions, for in April Despite this rejection, Macao's musical life 1923 the Conselho Legislativo was presented with a continued, buoyed by the musical ensembles of the draft law on “Musical Education and Organisation of Seminário São José and the Orfanato da Imaculada the Band, Sextet and Musical Orphéon” (“Ensino da Conceição, by groups of amateur enthusiasts, and by Musica e Organização da Banda, Sexteto e orfeom the sporadic concerts by touring performers. musical”),152 which called for the establishment of a Noteworthy among these were the regular music school with six teachers from Portugal who were performances by pianists Emílio Danenberg (1877-?), to give classes in music theory, piano, violin, wind Harry Ore (1885-1972) and their students,155 along instruments and choral singing. In addition to their with the performances of Italian opera companies, the
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concert by the pianist Leopold Godowsky (1870-1938) and conducting was most unfortunate, with the at the Teatro Dom Pedro V on March 18, 1923,156 the tempi switched, giving Bizet's delightful opera performance by the cello and piano duet Eugenie and here a funereal note that it does not have, and Leopold Premyslav on January 16, 1925,157 and the there the atmosphere of a vivace baccanale, which concerts given on August 6 and 7, 1927, by Russian is not part of the opera. (…) These people must violinist Josef Borissoff,158 who was introduced to be convinced (…) that Macao is not the African audiences as a student of Leopold Auer (1845-1930) wilderness. Macao fortunately has people who and Pablo de Sarasate (1844-1908). The amateur understand art; and the truth is that if we were groups that had meanwhile emerged included the to say that that was good, then we would be Grupo Scenico-Musical de Macau [Musical-Scenic betraying our principles!163 Group of Macao], led by Constâncio José da Silva; the The above comment suggests the existence in Grupo de Amadores de Teatro e Música [Group of Macao of music connoisseurs whose demanding Theatre and Music Amateurs], founded in 1924, whose standards were rather high. It was thus natural that music director was Bernardino de Senna Fernandes there was the widespread expectation in local artistic (1892-1971); the band of the Sociedade União circles that a new band would be created at any Recreativa;159 and the “Midnight Jazz” group, led by moment. These expectations became reality that very João Maria Franco. These groups' performances are same month (August 1927), when the director of the amply documented in the newspapers of the period. It Club Internacional de Recreio e Corridas de Macau is legitimate to surmise that, in addition to teaching, Ltda. [the Macao International Recreation and Racing the musicians active in these ensembles also offered Club, Ltd.] filed two applications with the their services for private occasions, such as weddings, Government: the first requesting the concession of funerals and popular fiestas.160 Such performances were properties “located inside the race tracks of the Areia nevertheless sporadic, and the public continued to feel Preta Field”, in return for the realisation of some a lack of more continuous musical activity, as evident improvements (including the construction of a in the comments on the concert by violinist Borissoff: bandstand); and the second requesting “the creation “Macao can and should have a small artistic milieu, in Macao of a music band, if possible militarised, for which would sweeten the roughness of life in bondage! an annual subsidy of $18,000.00 [patacas] given by For there is not even a Municipal or Government Band said Company and on condition that the band play that on Sundays and Thursdays could break the grey for free at the race track on days when races are monotony of every day, always identical, always the held…”164 The Council voted in favour of creating the same.”161 band, “publishing an Administrative Ruling Nevertheless, the bands were the major attraction (“portaria”) that created, at the Police Commissariat, of the epoch. In August 1927, the Macao public turned the said band with a minimum number of 22 members, out en masse to the Teatro Dom Pedro V, for the and providing the funds for its administration until performance of the “35 splendid musicians” of the the new contract with the Company can effect, as Band from the 2nd “Welch [sic] Regiment” of Hong obliged, the delivery of those funds, which shall then Kong.162 The critic D. J. Mesquitela (1889-1957), be invoiced to the Treasury”.165 Governor Artur however, did not like what he saw: Tamagnini Barbosa (who was Governor of Macao for Many people mistakenly suppose that Macao is a second term from 1926-1931) then ordered the a place where you can foist off second-hand publication of Administrative Ruling No. 192 of goods, without the public realising it. August 27, 1927, governing the creation of the Macao Fortunately, that's not the case. (…) When the Police Band.166 Rehearsals began immediately on signs announced the concert by this band, our premises ceded by the management of the Imprensa expectations were piqued. And while the band Nacional [Official Printing House].167 The first does indeed have worthy members, namely the performance was attended by the governor and took bassoon, first clarinet, the trumpets and place on September 17, 1927, led by Constâncio José contrabasses, theoretically they leave much to be da Silva, in the hall of the new Police Commissariat. desired. For example: in Carmen the selection The concert opened with “A Portuguesa”, the
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Portuguese national anthem, and continued with works tuned group; a good group of clarinets, by Massenet, Dvorák, Wagner, Beethoven and indispensable for any respectable band. (…) The Moszkowsky.168 In addition to its performances at the city of Macao should be satisfied with the band racetrack on racing days, the band also played, by that does it honour. And it would be good if on decision of the police commissioner, “on Sundays in Sundays it gave the mah-jongg players time off the tennis court [at the Governor's Palace] from 9 p. to go listen to music, to distract the spirit from m. to 11 p.m.”169 Admission to the Palace garden was daily disputes. This last note we stress, given that to be “open to everyone during the period in which the attendance on Sunday was very low…176 the band is playing there”.170 Between 1921 and 1927, the population of Macao Besides an apparent taste for music, Tamagnini made do without the presence of a stable music band. Barbosa seemed to share an affinity for the ideological But traditions were kept up during those years, and principles of Constâncio José da Silva.171 During his the enthusiasm for such musical entertainment had mandate as Governor of Macao, da Silva's work as head not waned: the Police Band, even in its very first few of the Police Band and, later, of the Municipal Band, weeks, found itself obliged to divide its time between received a large stimulus. Note, for example, that on weekly concerts, horse races, performances at official October 5, 1927, just a few days after the creation of ceremonies, and even private balls: “Tomorrow night the band, a public concert was re-scheduled so that there will be a family meeting, brightened by the Police the band could be available to perform for the Band, at the building of the Clube Recreativo de Governor: “The public is advised that in order for the Beneficência [Welfare Recreation Club], in honour of band to be able to play at the official ball hosted by the sergeants of the crew of the [ship] 'Pero de His Excellency the Governor, the concert scheduled Alenquera'.”177 for tonight will take place in the garden of the On the following day, November 13, 1927, Government Palace from 8 p.m. to 10 p.m., with entry another concert was held. The reporter from the open to the public.”172 Two days later, a report newspaper A Pátria commented that the works confirmed the Band's participation in the event: “The presented had been “very well performed, given the gala soirée held on the 5th of this month at the artistic taste and proficiency of both the Leader and Government Palace was very lively and well-attended the musicians”,178 regretting however that the (…) The concert given by the Band was very agreeable, programme did not include any works by Portuguese and no more or better could have been expected.”173 composers: “We would indeed be pleased if the Police After a performance on Sunday, November 6, Band were to include in each programme at least one 1927, the critic “S. R.” of the newspaper A Pátria went number of Portuguese music, of which there is good so far as to compare the new band to the best Hong material (…) This would help people learn that Kong bands, and also made a number of comments Portuguese music is not solely comprised of ‘fados’ for on the performance of its director. This review, guitar.”179 extremely rich in detail, seems reliable, all the more so Despite this slight reservation, it seems that for since it was published in a newspaper with an the first time in many years a consensus had been ideological bent that ran contrary to that of the reached on the band's cultural and educational Republican papers O Liberal and O Combate, the usual importance in the city's musical life, and on the need defenders of Constâncio José da Silva. The band was to stimulate its work. On December 1, 1927, the then composed of 25 musicians, all of them locals.174 newspaper A Pátria published the testimony of Fr. It is very likely that some holdovers from the first Ferdinando Maberini (1886-1956), composer and municipal band were still in the group, though they music teacher at St. Joseph's Seminary: were now seated beside their students:175 Yesterday I went for the first time to listen to the So we went to the Palace garden after dinner to Police Band, with absolutely no critical intention enjoy the concert and, yes indeed, our —just to hear music. (…) The band is still at its expectations for a good performance were beginning and thus cannot be perfect, yet with surpassed right after the first 30 or 40 measures the instruments it's got it performs very of Suppé's Overture. An admirable and well- agreeably. (…) The playing was good and the
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choice of works artistically varied. The musical appreciators of good music par excellence, are to be culture of Mr. Constâncio [da Silva] and goodwill denied the spiritual pleasure that, thanks to its good of the musicians are evidence of the most and worthy efforts, this excellent Band has been flattering hopes that Macao will soon have, with providing for the past four months, a pleasure that even a certain degree of perfection, a [source of] public the most backward areas of Portugal nowadays enjoy?! entertainment that is no less dignified, no less It is hard to believe… But after all, just what do the noble or useful than so many others that are people of Macao mean to certain influences in the already on the entertainment programmes of the Terreiro do Paço?”185 On February 2, 1928, a second people and families that live in this land.180 opinion186 echoed the first, and voiced various Incentive for the band was not limited to encouraging considerations on the decision187 that had deprived the commentary on its technical and artistic performance. Macao people of their musical entertainment: After so many years of inactivity, the Avenida Vasco (…) I cannot anticipate how His Excellency the da Gama bandstand—the main concert venue of the Governor will choose to resolve this case. But I former Municipal Band—had been rebuilt. The press am sure that [his decision] will not deprive the reported on the improvements: “A new roof has been Colony of an element that is widely held to be made, which will do much to beautify a place so often indispensable to cultivating the spirit as well as visited by the people of Macao on their promenades. the honest enjoyment of the people. In a colony All this leads us to believe that we shall soon have public like this, geographically and materially so far concerts by the already well-known Police Band.”181 from the home country that it sometimes seems There were now several reasons to anticipate an that we live on another planet, lacking the auspicious future for the new band: the bandstand on connections that facilitate visits by groups of Avenida Vasco da Gama had been renovated182 (and performers who can delight us for a few days until the work was completed, the Governor opened with performances and songs from the homeland his gardens for Sunday evening concerts); Constâncio (…) I believe (…) that the band should continue José da Silva had apparently earned the approval of to exist, though under the title “Municipal public and the musicians, in terms of his competence; [Band]”. And if after all the Horse Racing Club and, last but certainly not least, the fact was that it is neither able nor willing to transfer the subsidy cost the public treasury nothing, since a private to the municipal coffers—then let the company had, for a small return, committed itself to Government replace it.188 providing a substantial annual sum for the group's The Administrative Ruling was published in Macao upkeep. on February 4, 1928, but in practice it ended up not It was into this context that a piece of truly affecting the band's activities in the least: the group explosive news arrived: in Lisbon, the Conselho das continued to perform at official ceremonies and even Colónias [High Council for the Colonies] had ruled at soirées at the governor's residence. Immediately negatively on the Macao Governor's decision to create following the publication of the Administrative Ruling, the band. This opinion, confirmed by the Minister however, in order to avoid the appearance of illegality, of the Colonies on December 17, 1927, argued that it was given a fantasy name: Banda de Macau [Band of “the creation of new services in the colony can only Macao].189 be made by legislative measure (…) and not as an act These convulsions coincided with the visit to of executive or regulatory nature.”183 The Governor Macao of Sir Miles Lampson (1880-1964), Head of of Macao, in other words, did not have the power to the British Legation in Peking. After a visit to the usual decree the establishment of a new body within the historical sites, Governor Tamagnini Barbosa hosted police corps. Provincial Administrative Ruling No. him at an official dinner at the Government Palace. As 192, which created the band, was thus annulled by if nothing had ever happened, the Police Band (now Administrative Ruling No. 5:113184 of the Ministério called the Band of Macao), led by Constâncio José da das Colónias. Silva, was present at the reception, where “after the A few days later, the newspaper A Verdade toast [it played]…, respectively, ‘God Save the Queen’ queried: “… is it possible that the people of Macao, and ‘A Portuguesa’”.190 Its performance during the
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dinner attracted some comment from the British Leal Senado and signed by one of the race club ambassador, who “had words of praise and admiration directors, Carlos Melo Leitão, announced that, “for for the correct performance of the programme absolute lack of resources”, after April 1928, the Club numbers, given that [the Band] had been in existence would be unable to continue providing financial for such a short time, and was increasingly formed support to the band, and suggested that, in order to mainly by Chinese members.”191 prevent its extinction, it should be absorbed by the The Band of Macao went on to perform a major municipality.196 Thus, on April 1, 1928, the newspaper concert at the Teatro Dom Pedro V alongside pianist A Verdade reported that Jacques Gracias, vice-president Harry Ore on February 29, 1928. While they did not of the Leal Senado, had presented, “at the last council perform any pieces together, its presence in the same session, a proposal for the municipalisation of the music concert with a musician like Harry Ore was doubtless band of the Recreation and Race Club, which had once a mark of prestige for the band. The programme began been attached to the Police Commissariat.”197 with a suite in three movements from the ballet Constâncio José da Silva was invited to assume Coppelia by Léo Delibes (1836-1891). Harry Ore next the post of director, and presented proposed regulations, played the Sonata No. 17, Op. 31 No. 2 in D minor, as well as a budget for the acquisition of instruments, the Chorus of Dervishes and the Turkish March, from with the aim of forming a concert band.198 The The Ruins of Athens, Op. 113, by Ludwig van Beethoven announcement that the band was being revamped once (1770-1827). The degree of difficulty of the pieces again attracted the attention of Isidoro Maria da Costa, performed increased, with presentation of the third who in 1919 had offered his services to the Leal Senado movement of the symphonic suite Scheherazade, Op. as bandmaster. Da Costa recalled that Constâncio José 35, by Nicolai Rimsky-Korsakov (1844-1908). Harry da Silva, being a retired municipal functionary, was Ore capped the first part of the concert with his ineligible for the job, and instead offered his services as performance of a movement from Kreisleriana, Op. director of the Municipal Band.199 A few days later, at 16 and the final march of Carnaval, Op. 9, by Robert the council session of April 11, 1928, the Leal Senado Schumann (1810-1856). After the intermission, the summarily rejected his request, considering “the request Band returned with the suite in three movements to be wrong (…) also because there is nothing to prevent Sigurd Jorsalfar, Op. 56, by Edvard Grieg (1843-1907). him (Constâncio José da Silva), as a retired municipal Harry Ore returned to the stage to play his “Gavota”, functionary, from taking charge of said Band, in light Op. 12, the “Macao Lullaby”, three “Chinese Songs” of so many other cases that have occurred in the civil and the Hungarian Rhapsody No. 11 in A minor, by service.”200 Franz Liszt (1811-1886). The Band then closed the After nearly ten years, then, the road was finally concert with the Military March No. 2 in G major, by cleared for Constâncio José da Silva to realise the project Franz Schubert (1797-1828). The concert was that he had so often dreamt of: the creation of a concert repeated, with the same programme, on March 8, band in Macao. 1928, at the Teatro Vitória.192 The band now counted 27 members193 and THE APOGEE AND DECLINE despite the quid pro quo between the Macao OF THE MUNICIPAL BAND (1928 TO 1935) government and the Ministério das Colónias, the Club Internacional de Recreio e Corridas continued to Provincial Administrative Ruling No. 120, dated sponsor it.194 In return, the band continued to enliven June 11, 1928 and signed by Governor Artur the horse races with marches, waltzes and tangos.195 Tamagnini Barbosa, approved the regulations for a new Yet its indefinite position could not continue for municipal band. In Article 1, the regulations much longer. The regulation previously approved by determined that the band should have (1) a director the Governor had been cancelled by the Ministério or conductor, appointed or hired by the Leal Senado das Colónias, and a new one had to be drawn up that at the suggestion of the councillor responsible for the would ensure stable salary conditions for the musicians band, (2) an assistant director or assistant conductor, as well as funds to acquire instruments and scores. and (3) a minimum of 27 musicians, the latter Moreover, a letter addressed to the president of the appointed or hired by the Leal Senado at the suggestion
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of the director.201 The regulations also stipulated a daily under the leadership of Constâncio José da Silva, the work schedule of four hours, and allowed the musicians band began to give regular public performances twice to give private lessons and participate, for payment, in weekly (every Thursday and Sunday)205 at the new other musical groups, as long as these activities did bandstand on the Avenida Vasco da Gama. However, not infringe upon their obligations to the Band. since 1928, long before the regulations were published Worthy of note is the fact that Article 19 of the in the Boletim Oficial, the band had been offering regulations anticipated the formation of an orchestra regular concerts at either the Avenida Vasco da Gama (“a formação de uma orquestra”), in the same format or the Jardim de São Francisco, and sporadically at the as that conceived ten years earlier by Constâncio José racecourse bandstand.206 Since the previous year, da Silva. Constâncio José da Silva had been experimenting with In this period, however, the Leal Senado was a more ambitious repertoire, including for example facing financial difficulties due to the loss of 2% of its Beethoven's Egmont overture;207 the “Waltz of the taxes from the exploitation of opium.202 With the loss Flowers” from the Nutcracker ballet, by Tchaikovsky of that revenue, it no longer had the necessary resources (1840-1893);208 a pot-pourri from the opera The Flying to cover the expenses incurred by the municipalisation Dutchman,209 by Richard Wagner (1813-1886); a of the band.203 Once again, the prompt intervention transcription for band of the Prelude in G minor Op. of Governor Tamagnini Barbosa, who granted the Leal 23 No. 5,210 by Sergei Rachmaninoff (1873-1943); and Senado 25% of the income from the tobacco tax, even the overture to the opera Il Guarany, by Brazilian resolved the situation.204 Thus, in its new form and opera composer Carlos Gomes (1836-1896).211
Municipal Band, ca. 1928. Photo possibly taken at Leal Senado Square or in front of the old Lyceum.214
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Analysis of the content of the concert programmes and the Grand Hotel Central,216 Constâncio José da Silva seems to indicate that, on principle, Constâncio José formed a jazz group comprised of fourteen musicians da Silva did not mix what he considered “light” music chosen from within the band.217 with “classical” fare. As we shall see further on, for the On 30 April 1931, the Jornal de Macau purpose of performing light music, he set up within approvingly noted da Silva's idea of “offering the band a jazz group that had a specific performance youngsters the chance to dance in the open air and schedule. Reports and reviews, mainly in the distributing the lyrics of waltzes and foxtrots”,218 a clear newspapers A Verdade and A Pátria, suggest a intention of getting the public more involved in the considerable improvement in the band's technical and Band's performances. The public seems to have artistic abilities.212 In February 1929 another concert enthusiastically welcomed this initiative, to the point was held in the Teatro Dom Pedro V with pianist Harry that the Leal Senado had to regulate the jazz group's Ore and Hong Kong mezzo-soprano Mrs. R. Sanger,213 performance schedule, establishing a price and timetable. in which the band performed the second movement During popular festivals, particularly Carnival, there was of Beethoven's Symphony No. 5, Op. 6 in C minor usually a great demand for music groups to play at the and the “Andante” and “Allegro Moderato” from dances organised by the city's clubs and hotels.219 There Tchaikovsky's Symphony No. 5, Op. 64 in E minor, is no further information on the earlier proposal of and accompanied Mrs. Sanger in her performance of establishing a (salon) orchestra in the city, although there the aria “Vissi d'arte” from the opera Tosca, by Giacomo are reports that members of the Municipal Band on Puccini (1858-1924). occasion joined other amateur musicians in public At the time, Macao was not endowed with a performances: “Tonight's spectacle at the Capitol will conservatory or music school where young musicians be enlivened by the performance of an orchestra could hone their skills. Given these unfavourable composed of the most distinguished local amateurs and conditions and the available pool of human resources, some members of the Municipal Band.”220 The band the band indeed seems to have reached its “artistic also took part in benefit performances, such as the zenith” in the late 1920s. This is confirmed by the October 1931 concert in the ad hoc pavilion set up for spontaneous response of an American visitor, who a charity bazaar organised on behalf of the flood victims enthusiastically mounted the bandstand to congratulate in Hankow: “Upon request of the organising committee the musicians during its performance of April 14, 1929: of the Bazaar that has been arranged on Avenida Vasco The progress of the Municipal Band is da Gama, the Leal Senado has given the Municipal Band increasingly evident, to such an extent that at permission to play on Tuesdays and Thursdays in the the performance on the afternoon of the 14th of Bazaar pavilion and on Saturdays in the Bandstand of the current month (…), after one of the numbers the Jardim Vasco da Gama from 9 p.m. to 11 p.m”.221 had been played, an American visitor was so On October 20, 1931, Constâncio José da Silva, taken that he went up to the bandstand and then 67 years old, wrote a letter to the Leal Senado in shook the hand of the bandleader, Mr which he made known his wish to terminate his duties Constâncio da Silva, and extended his as director of the band as of January 1, 1932. In the congratulations, at the same time giving him a letter, he proposed a series of measures, among which paper that indicated that he was director of was his replacement by first-class military musician João musical performances for a radio station in San Xavier. Francisco, California.215 Da Silva's departure did not bring an immediate During the early 1930s, the Jornal de Macau and the end to the band, as we know from the fact that concert Eco Macaense newspapers regularly published the programmes continued to be published throughout programmes for the Municipal Band's performances in 1932 in the newspaper Eco Macaense. However, his the Jardim de São Francisco (January 1–February 10, recommendations were not accepted peacefully. The 1931) and at the bandstand on Avenida Vasco da Gama authority of João Xavier, who then held the position (February 14, 1931–July 1932), which were normally of interim bandleader, was questioned by another held twice a week. Following the fashion then in vogue musician, Flaviano Zapanta, who also sought the post. in the city's most prominent hotels, such as Hotel Riviera But Zapanta's request that a competition be held in
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order to find the most qualified individual to fill the A bitter dispute ensued, and even after warnings from position was rejected by the Leal Senado.222 After this Adolfo Jorge, the director of Eco Macaense, and from setback, the musician reacted in a letter dated January Constâncio José da Silva, the “munícipe” was still 9, 1932, and addressed to the director of the newspaper throwing accusations a month later in A Voz de Macau. A Voz de Macau, explaining the reasons that led him to The following letter enables us to ascertain the number request the competition: “This procedure is in of band members and their nationality, information accordance with the spirit of republicanism and that it has not been possible to find elsewhere: democracy that exists nowadays and will ensure that (…) How can a Band composed of thirty the director of the Municipal Band is responsible to members, most of them Chinese made musicians the educated public of Macao.”223 in four years, play Beethoven, greatest of the Moreover, just a few months after stepping greats, when the Director and master of those down, Constâncio José da Silva became embroiled in Chinese was previously an interested amateur a fierce controversy over the band with the newspaper and is now a Chinese, a right and able lad but A Voz de Macau, which published criticisms of his not ever up to the task of leading a band?226 tenure as director. The critic, who usually signed The following week, when the mysterious citizen himself a citizen224 (“um munícipe”), called for the criticised the programmes chosen by the former music abolition of the band because it did not achieve the director, he invoked the concept of “classical music”, objectives of entertaining and educating the population criticising Constâncio José da Silva for having included and promoting Portuguese music. In the absence of Grieg and Tchaikovsky among works by Austro-German more qualified musical criticism, the exchanges composers of the period around 1800. In the response between these two opponents is of a certain of the “munícipe” to his opponent, who had defended musicological interest, as it enables us to partially himself in the newspaper Eco Macaense, we also learn reconstruct the musical atmosphere of Macao in that where the band members studied music: “(…) Why period, and to gain insight into the technical and didn't he say that the musicians had come already artistic level of the Band: trained from the Salesians Band, the extinct Military The creation of a Music Band in Macao aims Band and from Father Jacob Lau? (…) Why did he especially to achieve the following goals: (1) not state that those musicians were as Portuguese as Recreation and musical education of the any Portuguese?”227 population; (2) The dissemination of Portuguese Regarding the fact that the band did not play music, so little known hereabouts. Yet neither more music by Portuguese composers, on June 30, the of these goals has been or can be met by the anonymous writer listed a large number of Portuguese Municipal Band as it is organised now, because: works that in his/her opinion should have been the Band is largely composed of hurriedly trained included in the band's repertoire. In the same letter, musicians (…) and plays badly; it therefore the “munícipe” also risked for the first time making neither provides recreation nor educates the observations of a strictly musical nature, specifically population and can only help to aggravate the criticising the group's technical and artistic latter's disinterest in such a sublime art. It is thus performance: not in any way possible to achieve the educational Not wanting, for the time being, to refer to goal; and the programmes of the Band reveal its intonation, I refer to its effects: In Prelude No. absolute disdain for Portuguese music, as only 5 of “Rachmaninow”[sic], the second part every once in a while its performs a potpourri or (cantabile), representing the lamentations of “typical rhapsody”, all of it old-fashioned and those sentenced to Siberia, has to stand out— far removed from significant recent here energetically, there painfully and developments in Portuguese music. (…) The grievously—from the accompanying part which Band's performances are attended by half a dozen portrays the continual dragging of chains that people and we are frankly unable to understand painfully crack against the poor convicts' bones. why the Leal Senado maintains a Band in such And those arpeggios linked to the conditions…225 accompaniment should undulate, not by means
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of faster or slower tempo, but by means of perform on Sundays in the Largo do Senado, intensity of sound. As is known, the author from 7 p.m. to 9 p.m., and on Thursdays on the wrote the Preludes for piano; and if one Alameda Vasco da Gama from 5:30 p.m. to 7: instrument is able to achieve all those effects, 30 p.m.; in both places, a Charity House may how is it that 30 instruments are unable to do rent chairs to the public. This resolution very so? What effects does the Band accomplish with much satisfies the public of Macao, which awaits this admirable Prelude? In the “Finlandia” by construction of a proper bandstand in the Largo Jean Sibelius, the Municipal Band's criminal do Senado and expects sufficient vigilance to performance reaches the point of providing ensure that dirty and ragged creatures are not moments in which we want to distinguish the allowed to take the seats existing there. melody, but cannot!… On July 3, 1933, A Voz de Macau again began The conclusion of this letter was published the publishing the weekly programmes of the Municipal following day. To wind up his avalanche of criticism Band. João Xavier had given up leadership of the band of the band and its director, the author attacked in November 1932, when he was replaced by the Constâncio José da Silva personally, though not before experienced second lieutenant Eusébio Placé, retired giving a lecture on music history and on the concepts bandmaster of the Banda da Guarnição de Macau, who of “professional”, “amateur” and “curious” amateur: had in the meantime asked the Leal Senado to be “Come on, Mr. C. J. Silva! You must be convinced reassigned as band director. The band continued to once and for all that your value as a musician is zero or perform regularly twice a week in the Largo do Senado almost zero…”228 The verbal assault continued until and the Alameda Vasco da Gama. the edition of July 19, 1932, where the author finished At this juncture, the appearance of Macao's by stating that “(…) The Macao Musical Band plays first radio station, the “Estação Emissora CQN de badly, even very badly, and its ex-director (who Macau”,231 created an entirely new medium for apparently still directs it) is entirely ignorant of musical musical performances. On January 2, 1934, A Voz matters.”229 de Macau described the first radio performance of To all these criticisms, Constâncio José da Silva the Municipal Band, which took place the previous gave heated responses in the newspaper Eco Macaense, day after a speech given by the colony's Governor, which revealed the difficulties he had had to confront António José Bernardes Miranda (governor of with regard to acquiring scores of Portuguese music. Macao, 1932-1936): Besides one or two technical or musical issues, however, The Band's programme as heard was overly loud, the nature of his comments leads one to realise that and for this reason we suggest that until the the dispute was mostly personal in character, the result Studio has completely adapted to the Band's of a breakdown in relations between Constâncio José numbers, they should only perform in another da Silva and Domingos Gregório, the director of the room or in the Leal Senado Hall, where a duly A Voz de Macau, who might have been the “munícipe” installed microphone might more harmoniously all along. According to Teixeira, the Eco Macaense was pick up the sound of the instruments. twice prosecuted for defamation of character. In the The New Year's Day performance ended with the wake of the dispute between the newspapers A Voz de pasodoble “Ordem e Progresso” by Joaquim Fernandes Macau and Eco Macaense, the latter's Director, on Fão. The suggestive title evokes the new fascist social October 24, 1932, decided to cease publishing to avoid and political order established in Portugal since 1926, further complications.230 For some months the concert with the end of the parliamentary regime.232 programmes of the municipal band did not appear in Despite the technical problems revealed during the papers. However, on April 1, 1933, we find an the first transmission, between January and May 1934, interesting report that reveals some of the practices the Municipal Band stopped performing in public vis-à-vis the band's public performances: on Sundays, in order to play instead on Mondays from The Administrative Commission of the 9 p.m. to 11 p.m. for the local radio.233 Opinions Municipality has determined that, starting from regarding this change were not uniformly favourable. the 19th of last month, the Municipal Band will These arguments were not by themselves reason enough
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for the band to stop performing on radio, however, maintained such a heavy financial burden on the given that there were not many other options to fill up municipality. He concluded with a humiliating tirade: the broadcast time. The “Trio do Cónego Clímaco do “[Let us] Stop this bi-weekly ridiculous spectacle of a Rozario”, made up of Fr. João Clímaco do Rosário worthless village, which is presented in a public square (1890-1935) on violin, A. Viana on piano, and before the eyes of the small number of tourists who A. Bernardo on cello,234 frequently played live chamber still put in an appearance.”241 In a tone of appeasement, music, along with the “Bragazinho” light music group the newspaper's director, Domingos Gregório da Rosa (J. M. Simão Rodrigues, Henrique Braga, João Braga, Duque, appended an editorial note, saying that “we Arnaldo Sequeira and Antonio Amante) which played cannot agree with the pure and simple extinction of “fados”, marches and polkas;235 very rarely, the “Jazz the Music Band. Rather, it should be endowed with Band Pancho & his Rhythm Boys” (made up of everything necessary to make it an excellent Band (…) A. Viana on piano, A. Bernardo on saxophone and so that it can give the people good music, which is the cello, J. de Jesus on cornet, and F. Albuquerque on spiritual food par excellence. There is other money “jazz”)236 and the “Orquestra do Club Maxim” could around which is badly used… Put to good use, it would also be heard. Moreover, the limited air time (only a take care of everything.”242 At the time, Macao suffered few hours a week), was filled with talks about music, from a lack of good schools; expansion and the arts, and Chinese and Portuguese culture, and with improvement of the education network was urgently music from records that, it is interesting to note, did needed. The new “Regulamento do Ensino Primário” not even belong to the radio station.237 This situation had already been approved and was only waiting for is entirely different from that of Hong Kong's radio funds to be put into practice—this was one of the station ZBW, which, in addition to collaborating with arguments critics used to press for the elimination of local performers and regularly transmitting evening the band. concerts by the Hong Kong Hotel Orchestra live from Four days after the publication of this article, the Grill Room of that establishment, maintained a another writer, who likewise wished to remain considerable and up-to-date record archive.238 anonymous (the article was published unsigned), sent At the time, a radio receiver was something that to the same newspaper another article, less aggressive only the most affluent families could afford. This was in content, which drew on the Leal Senado's budget probably the most compelling reason to effect the band's figures for the 1934/35 fiscal year. The Municipal return to the public garden. But although the newspapers Band, which consumed $25,152.00243 patacas did not mention this, the presumably widespread annually, effectively represented the municipality's criticism, whether justified or not, ended up producing third largest expense, after the public lighting service the desired effect: as A Voz de Macau noted on May 16, ($33,406.20), and hygiene and health services. In 1934, “our request for the Band to start playing in the addition to improving the education of Macao's young Largo do Senado was not in vain.”239 Confirming the people, the author asserted, the money saved by suspension of Sunday concerts in the first part of 1934, abolishing the “charanga” could be used to increase the writer continues by informing us that “tomorrow the number of municipal inspectors, which would is the second concert that the band will perform there”. prevent garbage from piling up in the streets, Despite the various attacks launched against it over “bothering the public with its nauseous smell”, and to the course of its existence, the Municipal Band never acquire “a radio apparatus that could be installed in stopped fulfilling its mission of entertaining the the Leal Senado hall, so that the public could at all population, holding regular concerts, and, insofar as times listen to good music from around the whole possible, exploring a fairly diversified repertoire. world.”244 The band director was also accused of being However, in September 1934 a sharp criticism again overly conservative in his choice of programmes: “The signed by “a citizen” was published in A Voz de Macau. public likes the happy music of jazz, music that seems It labelled “superfluous” the funds used to support the not to please the current band director. But the taste band, which in a brazenly mocking tone it described of a band director should follow that of the people.”245 as a “charanga”.240 The anonymous critic continued The writer concluded in a serious tone, stating that his savage attack by asking the Leal Senado why it still the band's performances in the Largo do Senado served
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“as a rendezvous point for prostitutes from the Rua da pieces performed, five were by Portuguese composers: Felicidade and nearby areas, [and that] the Macao “Portuguese Reveille” by Meyrelles, “Devaneio public, orderly people, peaceable and well-behaved, did Campestre” by Moraes, “Suite Nossa Senhora do not like to rub shoulders with vice and slime.”246 Sameiro” (in four movements) by Campos, the Meanwhile, the situation in Europe was becoming “Rosário de Fados” rhapsody by Marques,251 and to increasingly tense. Progress in telecommunications conclude, “A Portuguesa”, the Portuguese national meant that Macao was now closer than ever to the rest anthem, by Alfredo Keil (1850-1907). of the world, and A Voz de Macau, the only Portuguese- Three days later, Hitler spoke to the world and language newspaper at the time, gradually stopped A Voz de Macau printed on its front page his equally filling its pages with minor local squabbles, and started “sensational speech”.252 On October 25, King George emphasising the approaching conflict. Headlines such V (r. 1910-1936) dissolved the English parliament. as “The Eternal Sino-Japanese Imbroglio” and “The On Sunday, October 27, 1935, the band gave its final Ethiopian-Italian Conflict”, as well as the propaganda concert. Publicised as usual in the previous evening's put out by the Estado Novo (Portugal's new paper,253 this concert elicited no further commentary 'corporatist' state) that arrived every day from Portugal, from the Portuguese press. Clearly, the times had began to take up the newspaper's front pages. Finally, changed, and the Leal Senado's decision, approved by on September 26, 1935, in small print in an the Government, this time was definitive, interrupting insignificant section of the newspaper, the a story more than a century old, which had begun back announcement of the Municipal Band's demise in 1810, with the formation in Macao of the Batalhão appeared: Príncipe Regente. Given that His Excellency the Governor of the Colony agreed last August with the opinion of CONCLUSION the Standing Section of the Government Council, which was favourable to the Leal This study aims to describe the activity of musical Senado's proposal to abolish the Municipal bands in Macao during the period between 1818, the Band, as of November 1, the personnel of Band year in which the first references to the Banda do shall be dismissed from the services they have Batalhão Príncipe Regente are found, until 1935, when been providing. The population of Macao will the Municipal Band was dissolved. To a certain extent, thus be deprived of a music band starting on it can be asserted that the activity of official music bands November 1…247 was only interrupted between the years 1921 and 1927, The article also states that the band's new instruments for circumstantial reasons. However, during that same had been acquired thanks to donations from Chinese period we may note the spontaneous birth of various citizens, and showed concern over their destiny: “[we private groups as well as that of a band attached to the hope] that they are conveniently stored, for maybe Comissariado de Polícia [Police Commissariat], which we'll be able to hear them again when the winds functioned in 1927 and 1928, the year in which the turn more favourable.” Eusébio Placé, the band's new Municipal Band was created. These facts director since 1932, had, as early as September 10 unequivocally suggest a cultural continuity that was of that year, requested that he be relieved of his intrinsic to the Portuguese presence in Macao. duties; the assistant director, João Xavier, had been Macao's particular geographic situation made it in line to replace him.248 a meeting point of highly contrasting cultures. As was A Voz de Macau of Friday, October 4, 1935, the case in other countries colonised by Europeans, reported on “the sensational speech by Mussolini”249 foreign influences spread and are nowadays mixed in declaring war on Ethiopia. Despite its previously with local culture. heralded extinction, the band performed normally on The constant confrontation with alien cultural the holiday the next day.250 As in the preceding years, forces led the population of Portuguese background a major concert was held in the Jardim de São in Macao to develop a strong tendency to defend and Francisco, divided into three parts. A strong emphasis uphold their traditions, a phenomenon that was now placed on Portuguese music. Of the twelve ethnomusicologist William P. Malm has called the
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principle of “marginal survival”, according to which comments on this enervating and vexing “the oldest forms of many traditions are not found at situation, our spirit would atrophy if from time the centres of cultures but rather on their more distant to time it were not stimulated by a ray of fringes”.254 The presence of civilian and military bands sunlight erupting between the dense clouds of in Macao, and the manner of their development, are, tedium that overshadow our depressing in my opinion, a variation of this principle. In Macao, horizon. (…) The appreciation of music is not military bands played a predominant role in musical only an agreeable pastime; it is a moral tonic activities, most likely following a pattern imported from and powerful element of mental elevation, Portugal. In the early twentieth century, Republican which is to say that it contributes to the ideals called for a secular state, free and autonomous, perfection of character. Besides this, as and the repercussions of this ideology on the local superstition and religious faith are gradually and music scene were clearly evident in 1912-13, when the in parallel weakened, the latter can only be military band was transformed into a Municipal Band. stimulated through the appreciation of pure art This transformation did not induce either the people and everything that is beautiful and grand. (…) or the ruling class to lower their aspirations for a quality I beg pardon for the boldness of my criticism— source of musical entertainment—rather to the do go on. Remember that the work you do is a contrary. The creation of the Municipal Band under kind of charity, consoling the sad.255 the auspices of the Leal Senado sought not only to In this context, the concerts of musical bands clearly elevate the technical and artistic level of local musicians, had a superlative significance, not only as stimulators due to its performance of a more extensive repertoire, of “culture”, but also in developing a strong sense of but also to consolidate an essentially European tradition tradition by gathering the community of Portuguese in Macao. origin around a musical tradition that kept alive their At the beginning of the twentieth century, an ties to a cultural matrix which, though ever distant, anonymous writer (who signed his article with the had to be protected: thus affirming, in the face of the pseudonym “Zero”) gave voice to the idea, widespread overwhelmingly strong Chinese—and British— in Macanese and Portuguese communities, that music cultural presence, its own particular identity and was an important form of healthy entertainment. In characteristics. doing so, he provides us with a rather interesting portrait of society of his day, describing the isolation in which the western community lived and the absence of more regular musical activity: Author’s Note: For a much longer version of this study, see Oswaldo da Veiga Jardim Neto, “The Role of the Military Bands in shaping the Musical Exhausted by long expectation that seems be Life of Macau, ca. 1820 to 1935” (unpub. M. Phil. thesis, University of verging on the eternal, (…) and listening to Hong Kong, 2002).
NOTES
1 Known today as the Banda de Música da Corporação de Polícia de 4 See “Banda”, in Aurélio Buarque de Holanda Ferreira et al., Novo Segurança Pública de Macau. Aurélio Século XXI (Rio de Janeiro: Nova Fronteira, 2000), p. 264, 2 In addition to the military band, the tradition of school bands begun and Clifford Bevan, “Band”, The New Grove Dictionary of Musical almost one century ago at the religious schools (St. Joseph's Seminary Instruments, ed. Stanley Sadie, vol. 1 (London: Macmillan, 1984), and the Salesian Institute), continues today. According to current p. 120. information (2002) provided to the author by the Associação de 5 See Harold C. Hind and Anthony C. Baines, “Military band”, in Regentes de Bandas de Macau [Association of Band Conductors of The New Grove Dictionary of Music and Musicians, ed. Stanley Sadie, Macao], there are at the moment eight active school bands in Macao, vol. 12 (London: Macmillan, 1980), p. 312. associated with the following schools: Pui Tou Secondary School, 6 Ibid., p. 313. Pui Ching Secondary School, Kao Yip Secondary School, Hou Kong 7 The Prussian model of the military band as found in the late Secondary School, Keang Peng Secondary School, Macau Yuet Wah eighteenth century exerted a strong influence on military bands all College, Macao Salesian Institute, and St Joseph's Secondary School. over Europe. At the end of the Seven Years War (1756-1763) Frederick 3 See “Band”, in The New Encyclopædia Britannica, 15th ed., vol. 1 II, the Great (1712-1786) established a standard instrumental (Chicago: Encyclopædia Britannica Inc., 1991), p. 858. combination for Prussian army bands, consisting of two oboes, two
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clarinets, two horns and two bassoons. This soon became standard Musical Portuguesa, there are 750 filarmónicas in Portugal, of which in military ensembles all over Europe. This woodwind ensemble 110 are located in the Azores and 45 in Madeira. These bands continue clearly has its origins in the “deutsche Schalmeyen”, an ensemble to perform several times a year at community events such as festivities consisting of three shawms (two treble and one tenor), which were in honour of the Holy Spirit at Pentecost (“Festas do Divino Espírito popular in the seventeenth century. The French “hautbois” employed Santo”) and the festival of Our Lady of Fátima, among others. The by the Mousquetaires in 1663 (and later adopted in England as the bands play an important part in religious processions as well as giving “hautboys”) also influenced military music in the German lands, concerts at social gatherings and other folk festivals throughout the where this instrument came into usage in the early eighteenth century. year and throughout Portugal. Players are usually members of the The many names given to the predecessors of the oboe in different respective communities, and take music lessons in order to learn the languages (shawm, Schalmei, ciaramella, charamela) were also the basics of music theory and instrumental playing. The repertoire of names given to military bands constituted by reed instruments. The the “filarmónicas” consists mainly of marches (probably as a result of word “charamela” [shawm], which comes from the Latin “calamus”, the French influence during the nineteenth century and the general literally means “reed” (pipe, or cane). Therefore, I believe that the military background of the “banda”, as well as the practical needs in Portuguese “charamela” which accompanied D. João VI to Brazil processions). Popular songs, such as arrangements of “fado”, folk was most likely an ensemble similar to the Prussian model, consisting dances and dances of foreign origin such as the schottische, mazurka mostly of reed instruments and drums. See Hind and Baines, art. and polka are also performed. In addition to the hundreds of cit., The New Grove Dictionary of Music and Musicians, vol. 12, op. “filarmónicas” spread throughout the Portuguese mainland, according cit., pp. 311; Clifford Bevan, “Band”, The New Grove Dictionary of to a recent (2002) list of the International Military Music Society, Musical Instruments, vol. 1, op. cit., p. 123; and “Charamela” in Frei Portugal today still has a large number of military bands. Nowadays, Pedro Sinzig, Dicionário Musical (Rio de Janeiro: Livraria Kosmos soldier-musicians of the Portuguese Army are trained by their own Editora, 1976), p. 149. corps, be it at the Escola Superior Politécnica do Exército or at music 8 See Banda da Armada,
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15 Clifford Bevan, “Band”, The New Grove Dictionary of Musical in the colonial and overseas policies of the Portuguese government. In Instruments, ed. Stanley Sadie, vol. 1 (London: Macmillan, 1984), the main text, this publication will be referred only as Boletim Oficial p. 128. (henceforth: BO). The full title will be given in the notes. 16 Armando António Azenha Cação, Unidades Militares de Macau (Macao: 29 Cf. Boletim do Governo da Província de Macau, Timor e Solor, no. 47, Gabinete das Forças de Segurança de Macau, 1999), pp. 39-40. 8.IX.1855, p. 185, for the birthday of King Dom Pedro V. 17 Manuel Teixeira, Os Militares em Macau (Macao: Imprensa Nacional, 30 Ibid. 1976), p. 422. 31 Cf. Boletim do Governo da Província de Macau, Timor e Solor, no 18 The original Convent of Santo Agostinho was built by Spanish number, 27.X.1855, p. 1, for the birthday of King Dom Fernando II. Augustinian friars in 1586. In 1589, on the instructions of Felipe II 32 Despite the fact that it has not been possible to find a description of (r. 1556-1598), it was given to the Portuguese Augustinians, who this band, the use of the expression “música” in this context reveals transferred the Convent to the present-day Largo de Sto. Agostinho. (besides the French influence on Portuguese culture of the time) the The present building dates from 1814 and is located in the Largo de characteristics of the military band of the Macao battalion. According Santo Agostinho. See Manuel Teixeira, Toponímia de Macau, vol. 1 to Norman del Mar, military bands in France that combine (Macao: Instituto Cultural de Macau, 1997), pp. 97-100, and Anders woodwinds with brass instruments are simply called musiques, as for Ljungstedt, Um Esboço Histórico dos Estabelecimentos dos Portugueses example in the “Musique de la Garde Républicaine”. In German- e da Igreja Católica Romana e das Missões na China & Descrição da speaking countries, such groups are called “Harmonie”. Assuming Cidade de Cantão [original title An Historical Sketch of the Portuguese that the name is correctly used here, it can be inferred that the band Settlements in China and of the Roman Catholic Church and Mission in that period had not only brass instruments but also woodwinds. in China] transl. Ilídio A. de V. Félix Alves from the edition published Norman del Mar, Anatomy of the Orchestra (Berkeley: University of in Boston in 1836 (Macao: Leal Senado, 1999), p. 37. California Press, 1984), p. 29. 19 Teixeira, Os Militares em Macau, op. cit., p. 422. 33 Boletim do Governo da Província de Macau, Timor e Solor no. 49, 20 “Memoria circunstanciada da Solemne Aclamação de S. Mag.e o 22.IX.1855, p. 196. Muito Alto e Muito Poderozo Rey o Snr. D. João VI, celebrada em 34 O Boletim do Governo de Macau no. 35, 1.VII.1857 (OFA no. 6 of Macáo na Igreja Cathedral na tarde do dia 26 de Dezembro de 1818” 17th June). [Circumstantiated account of the solemn acclamation of His Majesty 35 João de Freitas Branco, História da Música Portuguesa (Mem Martins: the Most High and Powerful King Dom João VI, celebrated in Macao Publicações Europa-América, 1995), pp. 291-293, and Maria José in the Cathedral on the afternoon of the 26th day of December, Borges, Escola de Música do Conservatório Nacional de Lisboa 1818], Arquivos de Macau 1, vol. 1 (June 1929), pp. 43-48, third available online from
2005 • 16 • Review of Culture 37 OSWALDO DA VEIGA JARDIM NETO
MEMÓRIA E IDENTIDADE / Música
42 Cação, op. cit., p.32 (London: Macmillan, 2001), vol. 21, p. 563). Evidence contained 43 Since 1857 this band was part of the Batalhão de Infantaria de Macau. in the BO and the OFA (in particular, internal orders related to In the BO, however, it is referred to only as Banda do Batalhão de granting leaves of absence, remunerations and other benefits) indicates Macau. From 1872 onwards, though, the band starts to be referred that in the nineteenth century, the band would have been comprised to in the BO as Banda do Batalhão de Infantaria de Macau. Regarding by a vast majority of Goan musicians. Moreover, judging by the the personnel and instrumental constitution of this band, it is possible frequency with which soldiers from India (especially Goa) arrived in that the band was revamped after the reorganisation of the overseas Macao in the so-called “batalhões indígenas” to supplement the local military units in 1869. Since it was not possible to determine the military corps, it seems reasonable to surmise that Goan musicians previous constitution, however, this must remain a hypothesis. were a strong and ongoing presence in the various incarnations of 44 Boletim da Província de Macau e Timor, no. 28, 6.VII.1872, p. 126. the military band during the nineteenth century. 45 Boletim da Província de Macau e Timor, no. 45, 2.XII.1872, p. 194. 62 Entry for September 20, 1883. Adolfo Loureiro, No Oriente. De 46 Boletim da Província de Macau e Timor, no. 28, 6.VII.1872, p. 111. Napoles à China (Diário de Viagem), quoted in Macau no Diário de The site where the Jardim da Flora (also called Flora Macaense or Jardim Viagem de Adolfo Loureiro, ed. Aureliano Barata (Macao: Kazumbi do Pe. Almeida) is presently located was originally owned by a Portuguese Multimédia, 2000), pp. 59-60. priest, Fr. Vitorino de Sousa e Almeida (1826-1881), who, in 1848, 63 Entry for October 6 and 7, 1883, in Adolfo Loureiro, op. cit., p. 90. built a house which was sold to the government in 1872 or 1873. This 64 “De mal a peor”, in Echo Macaense, 11.VII.1897, p. 3. garden is located along Avenida Sidónio Pais at the bottom of Guia Hill. 65 “Banda regimental”, in Echo Macaense, 1.VIII.1897, p. 2. One “avo” Teixeira, Toponímia de Macau, vol. 1, op. cit., pp. 217-221. represents one-hundredth of the currency unit of Macao, the pataca. 47 Boletim da Província de Macau e Timor, no. 18, 29.IV.1876, p. 69. 66 Cação, op. cit., p. 32 and Beatriz Basto da Silva,“Macau, o exército e 48 The First Battalion arrived in Macao from Lisbon on the ship África, a cultura”, Revista de Cultura 13 (1988), pp. 87-93. in May 1876. Cação, op. cit., p. 47. 67 See, respectively, Articles nos. 50 and 59 of the Regulations. 49 Boletim da Província de Macau e Timor, no. 40, 4.X.1879, p. 232. 68 Boletim da Província de Macau e Timor, no. 11, 18.III.1867, p. 58. 50 Ibid., p. 242. In military garrisons, the presence of buglers was not necessarily linked 51 An English variant of the quadrille for eight or sixteen pairs, this to the existence of a music band. Furthermore, their duties were dance was popular in the middle of the nineteenth century. Its determined by specific service orders. As January 1, 1896, was a invention is attributed to the Dublin dancing-master John Duval. holiday, in accordance with the service order of Governor José Maria See Peter Gammond, “Lancers”, The Oxford Companion to Popular de Souza Horta e Costa (Governor of Macao 1894-1897, 1st term), Music (New York: Oxford University Press, 1991), p. 327. it was commemorated in the barracks with the “[flags to be] raised 52 “Baile de despedida”, Echo Macaense, 23.I.1894, p. 2. from sunrise to sunset (…) and with the Macao garrison band playing 53 Cação, op. cit., pp. 96-97. the reveille call at 5:30 a.m. in front of headquarters, where will also 54 Ibid., p. 33. play from 7 p.m. until the curfew call at 9 which will be played by 55 Boletim Eclesiástico da Diocese de Macau (henceforth: BoEcl), vol. 8 the bugle trios of the garrison corps, after which they will all march (June 1911), no. 96, p. 162. to their quarters …”. Boletim Oficial da Província de Macau e Timor, 56 Ibid., vol. 9 (November-December 1911), no. 101-102, p.121. no. 1, 4.I.1896, p. 3. 57 Cf. supplement to the Boletim do Governo de Macau no. 48, 1.XI. 69 Henry Norman, The Peoples and Politics of the Far East: Travels and 1866, in “Tabela das Receitas e Despesas”, art.º 12.º, no page numbers. Studies in the British, French, Spanish and Portuguese Colonies, Siberia, 58 Cf. supplement to the Boletim da Província de Macau e Timor no. 42, China, Japan, Korea, Siam and Malaya (London: T. Fisher Unwin, 23.X.1884, in “Regulamento Geral da Guarda Policial de Macau e 1895), pp. 183-184. suas dependências”, p. 398. 70 “Conselho Municipal” was the name given to the Leal Senado's 59 Sinzig, “Banda”, Dicionário Musical, op. cit., 76-83. municipal board, consisting of a president, vice-president and 60 A group of territories formerly held by Portugal on the western coast councillors. of Hindustan, which comprised three districts: Goa, Daman and 71 Arquivo Histórico de Macau (henceforth: ArqHistMo), Fundo de Diu. “Índia”, Lello Universal, vol. 1, op. cit., p. 1280. Administração Civil, P- 3714. 61 Although the soldier-musicians were recruited exclusively from among 72 Official letter (“ofício”) addressed to the Governor, dated February Portuguese citizens, it would be unwise to interpret this fact as proof 19, 1913, signed by José Luis Marques, president of Leal Senado. that they were born and/or trained exclusively in mainland Portugal. ArqHistMo, Fundo de Administração Civil, P-3714. The Portuguese influence on sixteenth- and seventeenth-century Goa 73 The actions taken are described in detail in a four-page official letter created a strong local religious and musical tradition. According to (“ofício”) addressed to the Governor of Macao dated May 9, 1913, Joseph Dyer, “Music was an important evangelizing tool in the and signed by José Luis Marques, President of the Leal Senado. missionary activity of the Jesuits in China, Japan, south-east Asia ArqHistMo, Fundo de Administração Civil, P-3714. and India. Francis Xavier, in the sixteenth century, taught simple 74 Ibid. 1-4 (p. 2). catechetical songs to children and had equal success in teaching adults 75 Ibid., 1-4 (p. 3). to memorize Catholic belief with the aid of music and rhyme. A 76 Ibid. solemn Mass with music accompanied by an organ and other 77 Ibid. instruments was celebrated in the Portuguese colony of Goa as early 78 Official letter (“ofício”) of May 9, 1913 to the interim Governor, as 1567. Students who attended the Collegio Puerorum in the colony cited supra. received training in music and were capable of performing polychoral 79 Ibid. compositions. Wind instruments were favoured, partly because these 80 Ibid. could be mastered more quickly than string instruments and partly 81 Ibid. because some of the instrumentalists came from the ranks of military 82 The Leal Senado henceforward received from the government an musicians. Other members of these orchestras were either talented local annual allowance of approximately $9,000 patacas for the upkeep of residents or individuals with ties to the colonial administration.” the Municipal Band. ArqHistMo, Fundo Documental do Leal (“Roman Catholic church music”, The New Grove Dictionary of Music Senado, P-66 and P-62. and Musicians, 2nd ed., Stanley Sadie, ed., John Tyrrell, exec. ed. 83 BoEcl, vol. 11 (October-November 1913), no. 124-125, p. 82.
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MEMORY AND IDENTITY / Music
84 In the Leal Senado's accounts book for the years 1915-1916, there is & Sons Music Co. See ArqHistMo, Fundo Documental do Leal an entry referring to the “payment [of $25.00 patacas] to Dona Emília Senado, P-65, box 2, and advertisements published in the newspaper Marques for rent of the upper floor of the building at Nos. 33 and O Liberal in May 1919. 35 São Domingos Street for the headquarters of the Municipal Band”. 99 Cf. official letter (“ofício”) of the Leal Senado, No. 245, of March Livro diário do Leal Senado, ArqHistMo, ref. AH/LS/908, p. 1, 28, 1919, cited in the letter from Isidoro Maria da Costa dated April microfilm A0265. 1, 1919. ArqHistMo, Fundo Documental do Leal Senado, P-65. 85 Cf. “Récita de marinheiros”, O Progresso, 31.XII.1916, p. 3. 100 His music and musical instruments business was represented in Macao 86 Cf. “Músicos municipais”, Ibid., 12.XI.1916, p. 3. by two different shops: the Casa Alto Douro, located at Rua Central 87 Cf. “Música no jardim”, O Progresso, 19.XI.1916, p. 3. no. 53, and, later, by the Firma Tantino, located at Largo do Senado 88 The Portuguese engineer Augusto César d'Abreu Nunes constructed no. 17. the Vasco da Gama Garden in 1898 as part of the commemorations 101 Cf. official letter (“ofício”) of the Leal Senado No. 245, of March 28, for the 4th Centenary of the Discovery of India. But the imposing 1919, cited in the letter from Isidoro Maria da Costa dated April 1, monument of Vasco da Gama, consisting of a bust made of bronze 1919. ArqHistMo, Fundo Documental do Leal Senado, P-65. supported by a column of stone, was inaugurated only on January 31, 102 Cf. official letter (“ofício”) of the Leal Senado of April 21, 1919. 1911. The central section of the garden was crossed by Vasco da Gama ArqHistMo, Fundo Documental do Leal Senado, P-65, microfilm Avenue which today no longer exists. The site originally occupied by A0276. the avenue is now taken up by the Hotel Estoril, two public schools 103 Cf. official letter (“ofício”) of July 5, 1919. ArqHistMo, Fundo da and the headquarters of the Polícia de Segurança Pública [Macao Police]. Administração Civil, P-7260. Teixeira, Toponímia de Macau, vol. 1, op. cit., pp. 228-229. 104 Cf. official letter (“ofício”) no. 703, of July 5, 1919, signed by the 89 “Macau”, O Liberal, 24.V.1919, p. 1. president of the Leal Senado's Administrative Commission. ArqHistMo, 90 Most probably a pot-pourri from the opera La Gazza ladra, by Fundo Documental do Leal Senado, P-64, microfilm A0276. Gioacchino Rossini (1792-1868). 105 Cf. proposal submitted in ordinary session of the Leal Senado on 91 Cf. “Tribuna Livre”, Jornal de Macau, 17.VII.1930, p. 3. December 18, 1920. ArqHistMo, Fundo Documental do Leal 92 Mário Vieira de Carvalho, Pensar é morrer, ou o teatro de S. Carlos na Senado, P-66, microfilm A0277. mudança de sistemas sociocomunicativos desde fins do século XVIII aos 106 The general census of the population in 1920, published in the nossos dias (Lisbon: Imprensa Nacional-Casa da Moeda, 1993), p. 71. Anuário de Macau for 1921, indicated a total of 83,984 inhabitants, 93 The 1755 earthquake destroyed the area known today as the “Baixa of which 4,177 were non-Chinese and 79,807 were of ethnic Chinese Pombalina” (the word “Pombalina” refers to the Marquis of Pombal, background. The number of mainland Portuguese was limited to who orchestrated the reconstruction of the city), composed of a just over a thousand. network of fifteen streets and three squares located between the Praça 107 Cf. official letter (“ofício”) no. 703, cited supra. dos Restauradores and the Tagus River. This catastrophe resulted in 108 Letter of July 11, 1919, signed by Constâncio José da Silva and the urban re-development of Lisbon, which included, in addition to addressed to Luis Nolasco da Silva, president of the Administrative new streets and squares, the 1764 construction of a public promenade Commission of the Leal Senado. ArqHistMo, Fundo Documental (the “Passeio Público”), which, according to Vieira de Carvalho, would do Leal Senado, P-64, microfilm A0276. become, with the triumph of Liberalism after the Constitution of 109 It has not been possible to find any follow-up to this letter among 1822, a symbol of the romantic-bourgeois lifestyle of the late the archival materials consulted. The final decision is handwritten nineteenth century. Part of the promenade included the Opera House on the first page of the letter itself. (Teatro São Carlos), a meeting point for the high society; fine clubs, 110 The “Bostock” circus opened in Macao on July 7, 1919, and not in fashion shops, and the Café Marrare, a meeting-place for intellectuals; Hong Kong, as stated by Basto da Silva, art. cit., p. 91. See also the and the Tabacaria Havaneza, a tobacco shop. It was, thus, a very up- advertisement published in O Liberal, 5.VII.1919, p. 3. market and elegant place, through which anyone with ambitions for 111 Letter signed by W. H. Treherne, manager of the Royal Italian Circus, a political, literary or business career had to pass, as well as any young on paper stamped with the same. The letter was written from Room bourgeois girl with dreams of a romantic marriage. Ibid., pp. 71-75. 243 of the Hong Kong Hotel on April 14, 1919. ArqHistMo, Fundo 94 For more information, see the articles “Contra-mestre da música”, da Administração Civil, P -7295. in Vida Nova, 12.IX.1909, p. 3; “Mestre de música”, Vida Nova, 10. 112 Cf. official letter (“ofício”) no. 832, of July 30, 1919, signed by the VII.1910, p. 3; and “Chegada”, Vida Nova, 2.X.1910, p. 3. president of the Administrative Commission of the Leal Senado and 95 The sources consulted for this research do not provide any conclusive addressed to the interim Governor of the Province of Macao. information about the ethnicity of the musicians whose names appear ArqHistMo, Fundo Documental do Leal Senado, P-66, microfilm in the BO and the OFA. Moreover, the acculturation to matters A0277, p. 33. Portuguese also extended to the names of the colonial population, 113 Information obtained from the minutes taken during the tests all of which are typically Portuguese, making them indistinguishable administered on July 13, 1919. ArqHistMo, Fundo Documental do from those of Portuguese of strictly European descent. Leal Senado, P-66, microfilm A0277, p. 1. 96 After Luigi Antinori's death, his position as music teacher at the 114 See “Escritura de prestação de serviço” [Contract for the provision of Seminary was taken by Giuseppe Penatti, who also became the service], dated October 28, 1920, between the Leal Senado and Alessio organist at the cathedral. See Boletim da Província de Macau e Timor, Benis. ArqHistMo, Fundo Documental do Leal Senado, P-66, 7.XI.1874, p.192. Teixeira says that “Ponatti” (sic) was from Milan microfilm A0277, pp. 4-6. and that he arrived in Macao on February 4, 1874. Manuel Teixeira, 115 “Notas… desafinadas”, O Liberal, 19.VII.1919, p. 2. O Seminário de S. José de Macau: Resenha histórica (Macao: Diocese 116 The minutes taken during the admission exam do not specify whether de Macau, 1976), p. 31. the questions were written or verbally posed to the candidate. 97 See, e.g., O Progresso, 28.X.1917, p. 1. However, I would suggest that a written test must have been prepared 98 Da Costa's correpondence with the Leal Senado was conducted on for Benis, in order to better assess his knowledge of music theory and paper with the stamp of “I. M. da Costa, Music Teacher, Music & harmony. Musical Instruments Dealer & Importer, located at 27, Cameron 117 Cf. minutes taken during the test, ArqHistMo, Fundo Documental Road, Kowloon.” In July 1919, the firm changed its name to Costa do Leal Senado, P-66, microfilm A0277, p. 1.
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MEMÓRIA E IDENTIDADE / Música
118 For more information, see the newspapers O Macaense and O Liberal Republica Portuguesa”, one-step “Macau Alegre”, “Poema Fantastico”, for the months of July and August 1919, where this subject is covered serenada [sic] “Uma noite á Lisboa”, “Aurora”, “Alba Boreale”, “O almost every week. Misterioso, “Rapsodia Italiana” (“Il Risveglio”), waltz “Bom anno, 119 ArqHistMo, Fundo da Administração Civil, P-7295. Minutes from “A Country Scene”, waltz “Nelly”, and “Mequinha” barndance. See the Government Council session of 2nd of December 1920. the Boletim Oficial da Província de Macau, no. 36, 6.IX.1919, p. 676; 120 Cf. proposal approved in an ordinary session of the Leal Senado on no. 39, 27.IX.1919, pp. 733-4; no. 45, 8.XI.1919, p. 834; no. 49, December 18, 1920 and subsequently forwarded for approval by the 6.XII.1919, p. 903; no. 51, 20.XII.1919, p. 937; no. 23, 5.VI.1920, Government Council. ArqHistMo, Fundo Documental do Leal p. 442; no. 25, 19.VI.1920, p. 486; no. 17.VII.1920, pp. 549-550, Senado, P-66, microfilm A0277, ref. “Banda Municipal, Contrato and no. 31, 31.VII.1920, p. 592. do regente Alessio Benis, 1919-1921”, pp. 13-14. 138 Cf. Boletim Oficial da Província de Macau, no. 42, 16.X.1920, p. 768. 121 Jacob Lau (1876-?) was born in Canton and studied at St. Joseph's 139 Ibid., no. 48, 27.XI.1920, p. 875. Seminary. Composer and music teacher of St. Joseph's Seminary. 140 “A Banda municipal”, O Liberal, 18.XII.1920, p. 2. 122 Basto da Silva, art. cit., 87-93 (p. 91). 141 Letter of June 9, 1920, signed by Edward Sly, acting Consul-General 123 The auction was held at the seat of the Leal Senado at 3 p.m. and Chairman of the King's birthday Committee, addressed to the Advertisement published in the Boletim Oficial do Governo de Macau, Governor of Macao. Transcribed in the article “Um testemunho no. 19, 14.V.1921, p. 367. insuspeito e valioso”, O Macaense, 13.VI.1920, p. 2. 124 Letter from Alessio Benis dated April 5, 1921. ArqHistMo, Fundo 142 Cf. “Caturrices”, O Liberal, 15.I.1921, p. 3. Documental do Leal Senado, P-66, microfilm A0277, ref. “Banda 143 “Banda de música”, O Liberal, 26.II.1921, pp. 3-4. The article Municipal, Contrato do regente Alessio Benis, 1919-1921”, p. 11. reproduces excerpts of news reports from the newspapers Guardian 125 Cf. proposal approved in an ordinary session of the Leal Senado on of Lourenço Marques and Heraldo of Nova Goa, which describe the April 9, 1921. ArqHistMo, Fundo Documental do Leal Senado, procedures adopted for the reorganisation of local music bands. P-66, microfilm A0277, ref. “Banda Muncipal, Contrato do regente 144 Cação, op. cit., pp.133-134. In 1910, a revolution overthrew the Alessio Benis, 1919-1921”, pp. 17-18. Portuguese monarchy, and a Republic was established on October 5 126 ArqHistMo, Fundo Documental do Leal Senado, P-65, microfilm of the same year. A0276, ref. “Banda Muncipal, Instrumentos, 1919-1920”, no page 145 In the 1920s, Macao had a number of recreational and cultural numbers. associations, among them the Grémio Militar, Club de Macau, Club 127 The order included: 6 clarinets, 1 “requinta” [ clarinet], 1 piccolo, de Recreio e Beneficência 1.º de Junho, and Sociedade União 4 cornets, 2 French horns, 2 trombones, 2 baritones, 1 bombardon, 1 Recreativa (O Combate, 27.I.1927, p. 5). Among the cinemas were bass, 1 double bass, 1 bass drum, 1 snare drum, 1 large drum the Teatro Cheng Peng, the Cinematógrafo Vitoria, and the Novo [caixa forte], 1 pair of 10-inch cymbals, 1 clarinet in A, 1 flute, 6 Teatro de Macau (or New Macao Theatre). violins and 1 cello bow. Cf. official letter (“ofício”) no. 925, of August 146 This was probably the military musician Agostinho Francisco de Assis, 16, 1919. ArqHistMo, Fundo Documental do Leal Senado, P-65, cornet player of the former military and municipal band. Cf. “No microfilm A0276, ref. “Banda Muncipal, Instrumentos, 1919-1920”, Jardim de S. Francisco”, in O Liberal, 31.VIII.1922, p. 1. no page number. 147 “Recita de amadores”, O Liberal, 16.XI.1922, p. 2. 128 Cf. “Banda municipal”, O Liberal, 22.V.1920, p. 4. 148 On May 24, 1921, Franco married Alda Maria da Silva, daughter of 129 Official letter (“ofício”) no. 925, of August 16, 1919. ArqHistMo, Constâncio José da Silva. Jorge Forjaz, Famílias Macaenses, vol. 3 Fundo Documental do Leal Senado, P-65, microfilm A0276, ref. (Macao: Fundação Oriente, 1996), p. 705. “Banda Muncipal, Instrumentos, 1919-1920”, no page number. 149 “Novo Teatro de Macau”, in O Liberal, 19.VI.1920, pp. 3-4. After 130 ArqHistMo, Fundo Documental do Leal Senado, P-62, microfilm the bankruptcy of the New Macao Theatre, João Franco assumed A0276, “Parecer a respeito dos musicos militares que fazem parte da management of the house, which resumed activities on June 12, 1920. Banda Municipal” [Report on the military musicians at service of The article emphasises above all “a orquestra, que se compõe de the Municipal Band], ref. “Banda Municipal, Subvenções aos militares violinos, flauta, clarinete, cornetim, trombone e piano” [the orchestra, que faziam parte dela, 1917-1920” [Municipal Band, Subventions which is composed of violins, flute, clarinet, cornet, trombone and to its Military Members, 1917-1920], p. 3. piano]. It performed on Mondays, Wednesdays and Fridays at 9:30 131 ArqHistMo, Fundo Documental do Leal Senado, P-62, microfilm p.m., accompanying the screening of silent films, as was common A0276, ref. “Banda Municipal, Subvenções aos militares que faziam practice at the time. parte dela, 1917-1920”. 150 In an homage at the Grémio Militar to Sacadura Cabral and Gago 132 Cf. O Liberal, 20.IX.1919, p. 3. Coutinho, the first Portuguese aviators to cross the Atlantic by air, 133 Nine military musicians were members of the band: João Damasceno João Franco conducted the Portuguese national anthem with a sextet Fernandes, Agostinho Francisco de Assis, Lucio Anselmo Carion, from Hong Kong, to the embarrassment of local authorities. “Os Manoel Pereira Lopes, Alfredo Gomes, Eugénio José de Souza, recentes festejos”, in O Liberal, 3.IX.1922, p. 1. For information on Francisco Xavier Rozario Godinho, Brazinho R. Rodrigues and André performances of João Franco at official ceremonies and private dances, Mateus Filipe Rodrigues. There were two other military musicians, see also “No Grémio Militar”, in O Liberal, 16.XI.1922, p. 1 (homage Augusto Salvador Felipe Mascarenhas and Sant'Ana Caridade F. Matias, to General Gomes da Costa), “No teatro D. Pedro V”, O Liberal, 25. who, during the period in question, were on leave in India. In 1919, the I.1923, p. 2 (benefit recital for the St. Raphael Hospital). Leal Senado spent $8,249.50 on military musicians and $8,680.00 151 “Em Macau”, in O Liberal, 18.I.1923, p. 2. on the others. ArqHistMo, Fundo Documental do Leal Senado, P-62, 152 Cf. supplement to issue no. 14 of the Boletim Oficial do Governo da microfilm A0276, ref. “Banda Municipal, Subvenções aos militares Província de Macau, 7.IV.1923, pp. 240-241. que faziam parte dela, 1917-1920” cited supra. 153 “… o Governo elaborasse aquele artigo criando taxas de licença que 134 See O Liberal, 26.VII.1919, p. 2. são da competência da Camara, pois que tais licenças são municipais 135 Cf. “A banda municipal”, O Liberal, 8.V.1920, p. 2. e não de polícia.” “No Leal Senado”, in O Liberal, 26.IV.1923, p. 1. 136 Cf. Boletim Oficial do Governo da Província de Macau, no. 36, 6.IX. 154 “Banda de Música”, in O Combate, 22.V.1924, p. 7. 1919, p. 676. 155 The students of Harry Ore and Emílio Danenberg who were 137 His original compositions included: grand passo dobrado “La noteworthy for their active participation in the musical life of Macao
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MEMORY AND IDENTITY / Music
included Maria Margarita Gomes and Maria de Senna Fernandes. Republicanism. In Portugal, Tamagnini Barbosa belonged to the For more information about other names, see “As discípulas do Prof. Nationalist Party, also with a liberal bent. It has not been possible to H. Ore”, O Liberal, 11.I.1923, p. 2 and “Os discípulos do Prof. determine whether Barbosa was a Freemason or not. However, it is Danenberg”, in O Liberal, 8.IV.1923, p. 2. known that Portuguese masonry was always closely linked to the 156 Advertisement published in O Liberal, 15.III.1923, p. 2. Republican movement and to Liberalism. Moreover, Tamaganini 157 Ditto, O Combate, 15.I.1925, p. 5. Barbosa had been a pupil of Constâncio José da Silva at the Liceu 158 Ditto, A Pátria, 1.VIII.1927, p. 4. Nacional de Macau. For this reason, I believe it is possible to suspect 159 “Sociedade União Recreativa”, A Pátria, 5.IX.1925, p. 4 (news report the existence of a strong ideological affinity (and perhaps ties of on the creation of the society's band). Made up primarily of young friendship) between Tamagnini Barbosa and Constâncio José da Silva. Macanese, it rehearsed three times a week and included 3 cornets, 3 172 Cf. “Concerto da banda do Comissariado”, A Pátria, 5.X.1927, p. 4. clarinets, 3 French horns, 2 trombones, 2 baritones, 1 contrabass, 1 173 Cf. “Soirée de gala”, A Pátria, 7.X.1927, p. 4. bass, 1 saxophone, 1 flute, 1 bass drum and 1 drum and cymbals. It 174 “A nova Banda de música”, A Verdade, 15.IX.1927, p. 4. has not been possible to discern the repertoire of this group, although 175 In the news item about the official dinner for Sir Miles Lampson in on nearby dates we find references (in the newspaper O Combate of February 1928, we note that the band was mostly made up of Chinese 3.IX.1925, p. 4, and 10.IX.1925, p. 5) to a “Jazz Band constituted musicians (see fn 193). This fact confirms my suspicions that at that by an extremely proficient group of amateurs, native sons, under the time, Macao already had a generation of local musicians who probably able direction of Mr A. Pereira”. came from St Joseph's Seminary and the Orfanato da Imaculada 160 As examples, we may cite the budgets of the brotherhood of N. S. Conceição, or were simply the students of some of the musicians Bom Jesus dos Passos (for the year 1923) and the Irmandade de Santo from the former municipal band. There is an official letter of April António (for the year 1924), which included annual funds on the 1928 from the Leal Senado, asking the Governor if “the musician- order of $95 patacas for singers, $35 patacas for the orchestra, and sergeants Agostinho Francisco de Assis and Francisco Xavier Godinho $75 patacas for the bands. See Boletim Oficial do Governo de Macau, can be constituent members of the Municipal Band, as it is not no. 1 (2nd semester), 7.VII.1923, p. 3 and Boletim Oficial do Governo possible at present to find anyone who can replace them”. In 1928, de Macau, no. 21, 24.V.1924, p. 367. Isidoro Maria da Costa also mentions, in a letter to the newspaper A 161 Cf. “Teatro D. Pedro V - 2.º Concerto de Josef Borissoff no Verdade, “four good musicians, Messrs. Assis, Godinho, Damasceno Domingo”, A Pátria, 12.VIII.1927, p. 1. and Dias”, probably the same military musicians who had been 162 Newspaper A Pátria, 26.VIII.1927, p. 3. members of the former Municipal Band. Official letter no. 300 of 163 Cf. “Arte e crítica”, A Verdade, 28.VIII.1927, p. 4. April 30, 1928, signed by F. Anacleto da Silva, president of the Leal 164 Copy of § 7 of the Proceedings of the 19th session of the Special Senado, addressed to the Governor of Macao, and “O Maestro Isidoro Session of the Conselho do Governo, held on August 18, 1927. da Costa”, A Verdade, 26.IV.1928, pp. 1-2. ArqHistMo, Fundo da Administração Civil, P-11449, caixa 211, ref. 176 Cf. “Banda Policial de Macau – Concerto no jardim do Palácio do “1927, Agosto, 3 a Dezembro, 15”. Govêrno”, A Pátria, 8.XI.1927, p. 1. 165 Ibid. 177 Cf. “Soirée”, A Pátria, 11.XI.1927, p. 4. 166 Administrative Ruling (“portaria”) published in the Boletim Oficial 178 Cf. “Banda Policial de Macau – Segundo concerto”, A Pátria, 15.IX.1927, de Macau, no. 35, 27.VIII.1927, p. 690. p. 4. 167 See official letter (“ofício”) no. 233/64, of September 1, 1927, signed 179 Ibid. by the director of the Imprensa Nacional and addressed to the director 180 Ferdinando Maberini, “A Banda Policial – Impressões”, A Pátria, of Civil Administration Services. ArqHistMo, Fundo da 1.XII.1927, p. 1. Administração Civil, P-11449, caixa 211, ref. “1927, Agosto, 3 a 181 Cf. “Avenida Vasco da Gama”, A Pátria, 7.XII.1927, p. 4. Dezembro, 15”, p. 10. 182 Besides the concerts in the gardens of the Government Palace, the 168 “O Comissariado de Polícia e a nova Banda de Música”, A Pátria, Police Band also gave concerts in the Jardim da Flora. See A Verdade, 19.IX.1927, p. 4. 10.1.1928, p. 3. 169 “Banda Policial”, A Pátria, 5.XI.1927, p. 4. 183 Cf. deliberation no. 92, Serviço da República do Ministério das 170 A Pátria, 6.XI.1927, p. 4. Despite the commissioner's order, the Colónias [Republic Service of the Colonial Ministry]. ArqHistMo, band directors would later try scheduling alternatives that were more Fundo da Administração Civil, P-11449, caixa 211, ref. “1927, convenient for the public. In the sources I consulted, there are Agosto, 3 a Dezembro, 15”, p. 11. references to concerts between 5 p.m. and 7 p.m. in the Palácio da 184 Published in the Diário do Governo no. 279, 17.XII.1927, I Série and Flora and on Avenida Vasco da Gama between 4 p.m. and 6 p.m. transcribed in the Boletim Oficial de Macau, no. 5, 4.II.1928, p. 56. With the change of seasons, the band would also change the time of 185 Cf. “Banda policial”, A Verdade, 14.I.1928, p. 3. Terreiro do Paço its performances. In the newspaper A Pátria, 13.XI.1927, p. 4, the [Palace Square] is the name given to the site where was located the article “Música” records this fact: “As it is already getting chilly at house of the Portuguese government. night, the schedule for 19th listening to the Police Band has been 186 Domingos Gregório, “Música”, A Pátria, 2.II.1928, p. 1. changed and as of today it will begin playing from 5 p.m. to 7 p.m. 187 The decision of the Colonial Ministry was published in Macao only in the gardens of the Government Palace…”. on February 4, 1928. However, the Lisbon newspapers had already 171 Artur Tamagnini de Sousa Barbosa was three times Governor of Macao. published the news, which had arrived in Macao by telegraph before Curiously, it was during his first term in office (October 1918 to July its official publication. Other reports on the same issue, later published 1919) that the first invitation was extended to Constâncio José da in the newspaper A Verdade, linked the decision of the Ministério Silva to reorganise the band and form an orchestra. In his second term das Colónias [Colonial Ministry] to questions of political (December 1926 to January 1931), first the Police Band and later the incompatibility between Constâncio José da Silva (and by extension new Municipal Band were founded, both led by Constâncio José da the Governor of Macao, Artur Tamagnini Barbosa) and the individual Silva. Da Silva was a Freemason (Teixeira, Os Militares em Macau, op. responsible for the case on the relevant committee, Filomeno da cit., pp. 440-441) and an active member of the Luis de Camões Masonic Rocha, who belonged to another political faction. The Republic was Lodge (located on the same premises that housed the newspaper A still very young and the rivalries between Liberals (Republicans) Verdade), who never concealed his affinities with liberalism and and Conservatives (Monarchists) continued to be the order of the
2005 • 16 • Review of Culture 41 OSWALDO DA VEIGA JARDIM NETO
MEMÓRIA E IDENTIDADE / Música
day. For more details, see “A Banda de Musica de Macau”, A Verdade, 207 Performed on December 1, 1927 in a concert at the Dom Pedro V 9.II.1928, pp. 2-3. Theatre, as announced in the newspaper A Pátria, 30.XI.1927, p. 4. 188 During that period in Portugal, there appears to have been a 208 As announced in A Verdade, 20.V.1928, p. 4. movement against regimental bands. The newspaper A Verdade, 5.II. 209 Ibid., 27.V.1928, p. 3. 1928, p. 2, published in Macao an article entitled “Bandas de Música” 210 Ibid., 10.VII.1928, p. 1. which reproduces excerpts from the Portuguese newspapers Eco 211 “Na Avenida Vasco da Gama”, A Verdade, 10.V.1928, p. 4. Musical and O Povo de Aveiro, defending the preservation of military 212 See “O Concerto no Teatro Don [sic] Pedro V”, A Verdade, 7.III. bands, whose expenditures the author understands to have been 1929, p. 3. The band's repertoire then also included technically considered “improdutivas” [unproductive] by the Portuguese advanced works such as Liszt's Hungarian Rhapsody No. 2 and government. Samuel Coleridge-Taylor's (1875-1912) Concert Suite [probably an 189 “A Banda de Musica de Macau”, A Verdade, pp. 2-3. Basto da Silva, arrangement for band of the Petite Suite de Concert, Op. 77]. art. cit., 87-93 (pp. 91-92) speaks about the same matter, referring 213 It has not been possible to find more references about this artist. to João Maria Franco as director of the Police Band. However, all the 214 I found this heretofore unknown photograph among the records of sources consulted indicate that from the very start its director was the hiring process for Isidoro Maria da Costa. The poor quality of Constâncio José da Silva. the reproduction is due to the fact that it was reproduced from 190 “Visita de Sir Miles Lampson”, in A Verdade, 26.II.1928, pp. 5-6. microfilm (the management of the Archives did not allow it to be For more information, see also the article “Jantar oficial no Palácio reproduced from the original photo). ArqHistMo, Fundo do Governo”, A Pátria, 24.II.1928, p. 2. Documental do Leal Senado, P-67, microfilm A0277, ref. “Banda 191 Cf. “Sir Miles Lampson”, in A Verdade, 26.II.1928, pp. 1-3. Municipal, Candidatura a regente, Isidoro Maria da Costa”. 192 “Nova audição musical”, in A Verdade, 4.III.1928, p. 4, and “O 215 “Banda municipal”, A Verdade, 23.IV.1929, p. 3. Professor Harry Ore e a Banda de Macau”, in A Verdade, 11.III.1928, 216 The Hotel Riviera was opened to the public on January 17, 1928 p. 4. (Basto da Silva, Cronologia, vol. 4, op. cit., p. 244), offering daily 193 “A Banda de Macau”, in A Verdade, 4.III.1928, p. 4. “chás dançantes” [tea parties] enlivened by a Filipino band (Luís 194 B. Delgado, “No Teatro D. Pedro V – O Professor Harry Ore e a Andrade de Sá, A História na Bagagem: Crónicas dos Velhos Hotéis de Banda de Macau”, in A Verdade, 4.III.1928, p. 4. Macau, Macao: Instituto Cultural de Macau, 1989, pp. 60-61). The 195 “Corridas”, in A Verdade, 11.III.1928, p. 4. later Grand Hotel Central, a six-story building considered at the 196 For more information, see the article “Banda de Musica”, A Verdade, time as the “the first skyscraper of Macao”, was opened to the public 1.IV.1928, p. 4, and the official letter (“ofício”) to the Governor of on July 22, 1928, under the name of the President Hotel. During Macao, no. 193, of March 29, 1928, signed by the vice president of the opening ceremony, the guests were invited to attend to a the Leal Senado, requesting financial support for the upkeep of the performance of the Municipal Band, held on the hotel's roof garden, future municipal band. ArqHistMo, Fundo Documental do Leal which could be accessed through the “electric elevator”, the first one Senado, ref. AH/LS/134. Macao. In 1930, the hotel was refurbished and, in December of the 197 Cf. “Banda de Musica”, in A Verdade, 1.IV.1928, p. 4. same year, re-opened under new management, as the Grand Hotel 198 “Banda Municipal”, in A Verdade, 12.IV.1928, p. 3. Central. In this new phase, the Hotel Central featured a “Cabaret 199 Letter of April 3, 1928, from Isidoro Maria da Costa to the president Hou Hing” with an in-house jazz band. Both hotels were located on of the Leal Senado. ArqHistMo, Fundo Documental do Leal Senado, Avenida Almeida Ribeiro. For more information on the history of P-67, caixa 3. hotels in Macao see Andrade de Sá, op. cit. 200 Cf. newspaper A Pátria, 25.IV.1928, p. 4. 217 Cf. official correspondence from Constâncio José da Silva to the Leal 201 “Regulamento da Banda Municipal de Macau”, Boletim Oficial de Senado. The jazz group of the Municipal Band was officially Macau, no. 25, 23.VI.1928, pp. 449-451. constituted by 14 musicians. Official letter (“ofício”) of June 8, 1931, 202 Despite the adverse social and moral consequences represented by signed by the council secretary. ArqHistMo, Civil Administration the use of opium, widely discussed since the beginning of the Fund, P-13289, microfilm A1172, pp. 5-6. twentieth century by the Western Powers, the commerce of the drug, 218 Newspaper Jornal de Macau, 30.IV.1931, p. 3. for both medicinal and recreational purposes, continued to grow in 219 In the official letter (“ofício”) of June 8, 1931, mentioned earlier, Macao at least until the 1930s. The commerce was legally regulated Constâncio José da Silva notes that “nos recentes saraus de Carnaval by the local government, with taxes levied by the Secretaria de Fazenda realizados em alguns clubes desta cidade, estiveram funcionando dois [Secretary of Finances] and inspected by its own government grupos de musicos a custo contratados em Hongkong” [at the recent department, the Superintendência de Fiscalização do Ópio. According Carnival soirées held in some clubs of this city, two paid musical to Basto da Silva, the economic situation of Macao between 1918 groups hired from Hong Kong were performing]. Official letter of and 1921 was very good, due primarily to the income originated by June 8, 1931, signed by the council secretary. ArqHistMo, Civil the opium trade. Cronologia da História de Macau, vol. 4 (Macao: Administration Fund, P-13289, microfilm A1172, pp. 5-6. Direcção dos Serviços de Educação e Juventude, 1995), p. 150. It 220 Cf. “O Espectáculo artístico de Silva Sanches”, in A Voz de Macau, was only on December 31, 1945 that the commerce of opium was 3.X.1931, p. 2. definitively abolished in Macao. 221 Cf. “A Banda Municipal”, section “Ecos e Notícias”, in A Voz de 203 Cf. official letter [“ofício”] no. 193 of March 29, 1928, signed by Jacques Macau, 30.X.1931, p. 3. Gracias, vice president of the Leal Senado, addressed to the governor. 222 A Voz de Macau of 6.I.1932, p. 3, published a report on the denial of ArqHistMo, Fundo Documental do Leal Senado, ref. AH/LS/134. the request by musician Flaviano Zapanta to open a competition for 204 Cf. “deliberação do Conselho” of 25 April 1928, published in A the position of Band Director, a post for which he wished to compete. Verdade, 10.V.1928, p. 4. The story also reveals that João Xavier held that position on an interim 205 Cf. official letter [“ofício”] no. 307, of May 2, 1928, from the Leal basis. Senado to the band conductor, establishing the schedule of band 223 Letter to the editor, published in A Voz de Macau, 13.I.1932, p. 4. performances. ArqHistMo, Fundo Documental do Leal Senado, ref. 224 Most likely Domingos Gregório, director of the newspaper A Voz de AH/LS/134, microfilm A0045, Macau, with whom Constâncio José da Silva had recently broken 206 “A Banda Municipal”, A Verdade, 3.VI.1928, p. 4. friendly relations. For more information, see “Os detractores da Banda
42 Revista de Cultura • 16 • 2005 THE TRADITION OF BANDAS DE MÚSICA IN MACAO
MEMORY AND IDENTITY / Music
Municipal de Macau” [Detractors of the Macao Municipal Band], 235 Ditto, A Voz de Macau, 22.XII.1933, p. 5. Eco Macaense, 4.VI.1932, pp. 6 and 8, where the whole incident is 236 Ditto, A Voz de Macau, 18.I.1934, p. 5. In this context, I suppose explained by C. José da Silva. that “jazz” means “rhythm”, therefore, “percussion”; possibly a drum 225 Cf. “A Banda Municipal”, in A Voz de Macau, 31.V.1932, p. 2. set. 226 “A Banda Municipal”, in A Voz de Macau, 7.VI.1932, p. 1. 237 The records were “borrowed from Agência Mercantil Económica” 227 Anonymous (“um munícipe”), “A Banda Municipal”, in A Voz de located on Avenida Almeida Ribeiro no. 1H, as mentioned in the Macau, 14.VI.1932, p. 1. printed programme of Station CQN published A Voz de Macau, 228 “A Banda Municipal de Macau”, A Voz de Macau, 2.VII.1932, pp. 1-2. 11.XI.1933, p. 5. 229 Cf. “Uma prelecção util sobre música”, A Voz de Macau, 19.VII.1932, 238 See the “Radiofonia” section published daily in A Voz de Macau from pp. 1-2. October 1933, which list all the programmes broadcast on Hong 230 Manuel Teixeira, Imprensa Periódica Portuguesa no Extremo-Oriente Kong Radio. (Macao: Notícias de Macau, 1965), p. 159. 239 Cf. “Banda Municipal”, section “Ecos e Notícias”, A Voz de Macau, 231 On August 26, 1933, with an annual budget provision of $42,000 16.V.1934, p. 5. patacas, originating from the government and the postal service, 240 Tin-pot band. Cf. “Coisas municipais”, in A Voz de Macau, 11.IX.1934, Macao's first radio station was inaugurated in the building housing p. 2. the Post and Telegraph Department. For more details, v. Paulo Rego, 241 Ibid. “Quando o futuro era a rádio…” in Revista Macau 28 (August 1994), 242 Ibid. pp. 7-17; see also Basto da Silva, Cronologia, vol. 4, op. cit., p. 284. 243 To have a better idea of the meaning of these amounts in the context 232 The main protagonist of fascism in Portugal was António de Oliveira of the time, some benchmark references are presented here. In the Salazar, whose interviews began to gain significant exposure in Macao years 1934-35, one pataca was equivalent to 7.5 Portuguese escudos; newspapers beginning in the 1930s. Considered by some as a dictator one US dollar was worth approximately 22.30 escudos. The Cheong and by others as an able politician, António de Oliveira Salazar (1889- Hing firm, located at Rua do Campo no. 55, which specialised in 1970) was the most influential political leader of Portugal from 1932 importing Portuguese products, sold a bottle of port wine for 2.40 until 1968. A professor of political economy, he became finance patacas and a can of olive oil for 1.20 patacas; at the Padaria Europea minister (1926-1928) and managed to stabilise the nation's finances. at Rua de São Miguel no. 14, a baguette of French bread cost 10 avos As Premier he established, in 1933, a quasi-corporate state (the (0.10 patacas). Later, H. Nolasco & Co., located on Avenida Almeida “Estado Novo”) and suppressed all opposition, using heavy censorship Ribeiro, no. 20, would enter the competition with more advantageous and the state security police (PIDE, Polícia Internacional de Defesa prices, selling a tin of sardines for 0.10 patacas and a 1-litre can of do Estado), which was known to have used torture and terror against Portuguese olive oil for 1.10 patacas. This information was obtained political opponents of the regime. Although he supported the Spanish from diverse advertisements published in the newspaper A Voz de General Francisco Franco, he allowed the Allies to use the Azores as Macau during the years 1934 and 1935. a military base during the Second World War, while still managing, 244 Cf. “Coisas municipais”, A Voz de Macau, 15.IX.1934, p. 1. very skilfully, to keep Portugal out of the conflict. Later he encouraged 245 “Coisas municipais”, A Voz de Macau, 15.IX.1934, p. 1. Portugal's economic development and tried to suppress revolts in its 246 Ibid. African colonies. After suffering a stroke in 1968, he was replaced as 247 “Extinção da Banda Municipal”, section “Ecos e Notícias, A Voz de premier by Marcello Caetano, a law professor exiled after his Macau, 26.IX.1935, p. 3. government was overthrown by the military coup of April 25, 1974. 248 Ibid. For more information see “Salazar, António de Oliveira”, Lello 249 “O sensacional discurso de Mussolini”, A Voz de Macau, 4.X.1935, p. 2. Universal, vol. 2, op. cit., p. 816; for detailed information about 250 October 5, the anniversary of the establishment of the Portuguese “Estado Novo” see also História de Portugal, ed. José Mattoso, vol. 7 Republic. (Lisbon: Editorial Estampa, 1998). 251 It was not possible to identify these composers. 233 It has not been possible to find, in the sources consulted (namely, 252 “Um sensacional discurso de Adolf Hitler”, A Voz de Macau, 8.X.1935, “Radiofonia” section of the newspaper A Voz de Macau for the months p. 1. of April and May 1934), any news reports on performances by the 253 A Voz de Macau, 26.X.1935, p. 4. Municipal Band on Macao's CQN radio, as the programmes of the 254 William P. Malm, Music Cultures of the Pacific, the Near East, and local broadcaster were no longer published in A Voz de Macau. The Asia (Englewood, N. J.: Prentice-Hall, 1977), pp. 28-29. newspaper was therefore limited to publishing the programmes of 255 “Um Raio de Sol”, O Progresso, 11.II.1917, pp. 2-3. The weekly O the radio stations ZBW of Hong Kong and KZRM of Manila. It has Progresso was Republican-inclined. The journalist's commentaries been similarly impossible to locate the programmes of the Sunday reflect the science-oriented Republican ideology of the time, grounded performances of the Municipal Band, which leads me to surmise in the belief in the value of a secular society and the positivist doctrines that the radio performances on Mondays between January and May of August Comte, which had since 1870 been disseminated in Europe of 1934 were, more likely that not, held in lieu of public concerts. and which in Portugal were reflected in the writings of Eça de Queirós 234 Based on the description of this musical group found in A Voz de (1845-1900), Antero de Quental (1842-1891), and Ramalho Ortigão Macau, 18.I.1934, p. 5. (1836-1915).
2005 • 16 • Review of Culture 43 MEMÓRIA E IDENTIDADE / Música
44 Revista de Cultura • 16 • 2005 MEMORY AND IDENTITY / Music
The “Macao Hymno”
OSWALDO DA VEIGA JARDIM NETO
In the repertoire of the military and municipal O Porvir, the information bulletin of the Portuguese bands, works that allude to Macao or were written by community in Hong Kong, highlighted the “vocal and local composers deserve special attention—all the more instrumental” concert given on October 30, 1897, in so because there are so very few of them. References St Patrick’s Hall, Garden Road, to mark the can be found to the waltz “Macau” by J. Braga,1 the inauguration of the Sociedade de Santa Cecília10 and pasodoble “Expedição a Macau em 1900” by Eusébio where Vela’s song “Ansia” was performed. Placé,2 the Macanese dance “Pantomina” by “D”3 and However, the absence of any reference to the the pieces written by Alessio Benis4 during his tenure name of this composer in the extensive and as bandmaster of the Banda Municipal, namely the groundbreaking Macanese genealogy researched by military march “L’arrivo a Macao” and the one-step Jorge Forjaz as well as the presence in the anthem’s “Macau Alegre”. Another work worthy of note is the score of various English-language expressions (such as anthem5 “Ao Leal Senado e ao povo de Macau” “bassoons” and “horns”), which goes against the (frequently called the “Hymno a Macau”, “Hymno de prevalent use in Portugal of Italian terms, raise some Macau” or “Macao Hymno”), by Melchor Vela. doubts as to his origins. The “Macao Hymno” calls for special attention The truth is that Melchor Vela was Spanish. All not only due the fact that it is dedicated to the evidence indicates that he maintained close municipality, but also because for decades many aspects relationships with the Portuguese communities in of its fate and whereabouts were unknown. To begin Shanghai, Hong Kong and Macao, and with the then with, we do not know much about the life and works president of the Leal Senado, “comendador” António of Melchor Vela—until now, it was thought that, given Joaquim Basto (1848-1912),11 whom he met in 1896 the theme of this composition, its composer may have during a diplomatic mission to Thailand. In various been born in Macao; this, however, is not true.6 The articles published in the newspaper Echo Macaense in error is understandable, however, given his numerous 1896, Basto provides a detailed description of his trip ties to the Portuguese community in Asia: as early as and refers to the musician as the Spanish maestro and 1889, there are references to his participation as a ‘comendador’ Vela, resident in Shanghai (“maestro pianist in concerts at the “Club de Recreio” in hespanhol e commendador Vela, residente em Shanghai;7 between 1897 and 1901, the “Macao Shanghae”).12 In the minutes of the council session of Hymno” was performed at least five times by the Macao March 10, 1897, chaired by Basto, we find in paragraph Garrison Music Band in its bi-weekly concerts;8 and 9 the following record of a gift that was obviously his march, “The Shanghai Jubilee”, was performed by created by Vela’s own hand: the same band on Sunday, May 27, 1897, in the Jardim The council President said that maestro Vela had de São Francisco.9 A few months later, the newspaper composed a “Hymno de Macau” and offered it
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to the Leal Senado, having himself written the Hymno”, although it was listed in the Archive’ catalogue, music for piano, as well as the score for band; the file was, in fact, empty. Indeed, in a set of documents the President was very pleased to present this dated 1979, it is possible to trace the existence of codex work to his colleagues. The Leal Senado resolved 317, which bears the following description: Anthem of to accept this thoughtful gift and to address a Macao, composed and dedicated to the Leal Senado and vote of thanks to maestro Vela, to whom such to the people of Macao by Melchor Vela (“Hino de should be forwarded, informing him at the same Macau, composto e dedicado ao Leal Senado e ao povo time of the Leal Senado’s decision to make a copy de Macau por Melchor Vela”).17 In the corrected and to be lithographed as well as other copies to exhaustive catalogue of all documentation from the Leal popularise this anthem.13 Senado existing in the Macao Historical Archive, Six weeks later, the minutes of the council session published in 1983, the same codex is again reported, of April 28, 1897, record the composer’s reply: though this time with the indication that it is extant, The despatch from “comendador” Melchor Vela but has not been sent to the Archive (“consta, mas não was read, to the effect that he felt much obliged foi enviado ao A.H.M”).18 But the footnote in Pinto de due to the good reception of the gift he offered Sá’s article—probably written after the manuscript was to the Leal Senado and that, as a son of a friendly, in fact returned in 1983—indicates that it had at last neighbouring people, fraternal in the glorious been recovered. annals of history, he would always be very In October 2001, when seeking to consult the content to address to the Leal Senado, by his original, I was thus extremely surprised when the services, his feelings of veneration and current director the Macao Historical Archive, Ms. admiration.14 Fátima Lau, told me that the whereabouts of the score We do not know if the Leal Senado’s resolve to was, once again, unknown. For this reason, I was make lithographs of the music was ever accomplished, obliged to consult the Boletim do Arquivo Histórico de given that no printed score of this work has come to Macau19 in which the work is, fortunately, reproduced. light. Despite the heartfelt welcome given to the work It must be clarified that the Macao Historical Archive and its immediate inclusion in the programme of the possesses comprehensive holdings of most, if not all, concert held on May 27, 1897, there was apparently of the Leal Senado documents from the years 1630 no move toward adopting it as the municipality’s through 1975, a total of 1462 catalogue items. In the official song, perhaps because its author was not search for the manuscript, I thus consulted the minutes Portuguese. While the anthem’s manuscript was written of Leal Senado sessions in the years 1896 and 1897, as some time in 1896 (or early 1897), its history before well as correspondence received and sent by the Leal definitively being donated to the Macao Historical Senado in the same period, and other files where it Archive, is rather curious and thus worth telling. might have been relocated, such as official requests, For reasons still to be fully elucidated, the service contracts and minutes of the Council’s sessions. manuscript, according to Pinto de Sá,15 ended up in In the Correspondence Received files I found a gap the private library of Canon Morais Sarmento,16 and from 1895 to 1901: the last surviving register is dated after his death was donated by the Chaptre of Macao December 18, 1895, while the next one is January 4, Cathedral to Father Áureo Castro (1917-1993) who, 1901.20 In the wake of my recent investigation, I must at an unknown date, loaned it for use by the Macao confirm that the manuscript is effectively lost at the Police Band. The former leader of the PSP band, Mr. present time. Bernardo Lei, returned the manuscript to Fr. Castro From the Boletim do Arquivo Histórico de Macau, in 1983, who then donated it to the Macao Historical it is known that the manuscript comprised a total of Archive. In a footnote to Pinto de Sá’s article, Beatriz thirteen pages, including the cover sheet, which bore Basto da Silva, then Director of the Archive, enthused the words “Macao Hymno – Espressamente composto over the recovery of the manuscript, explaining that a e dedicado ao Povo de Macao O Leal Senado por thorough investigation in 1980 had revealed that some Melchor Vela, Novembro de 1896, Partitura para of the titles of the Archive’s files did not correspond to Banda” [Macao Anthem – Expressly composed and their contents, and that in the case of the “Macao Dedicated to The People of Macao The Leal Senado
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by Melchor Vela, November 1896, Score for Band]. in major. Using the secondary dominant chord Given its martial nature, the prevalence of trenchant ( which is simultaneously the tonic of semiquavers and the punctuated division of beats major tonic and subdominant of major), the main (dotted quavers and semiquavers), which aims to effect key is reintroduced to prepare for the repetition of the constant accentuation (which lends security to the pace first section, which is linked, at measure 18, to a coda when marching), I believe it is correct to call it a March, of 16 measures. Clearly affirmative and conclusive, the conceived according to the ternary form (scheme A- coda is based above all on the rhythmic elements of B-A) that is characteristic of the genre. Section A runs the first section, here exploited with some from measures 1 to 36, section B from measures 37 to chromaticism. 70; the recapitulation consists of the identical repetition Generally speaking, the melodic lines, as might of section A, to which is added a coda of 16 measures be expected, are developed in a homophonic manner, (71-86), providing the conclusion to the work. with almost total absence of counterpoint, except for The first section is written in the base key, measures 21 and 31, where the cornets and the side major, and begins with a brief two-measure preparatory drum respond to the melody heard in the two introduction, in crescendo, in the percussion section. preceding measures. Next, the first subject (announced by piccolo, flute, As no other works by this composer are known, oboe, 1st and 2nd clarinets in , 1st clarinet in , 1st it is difficult to reconstitute his working method and cornet, baritone and bombardon), which is masculine, the various compositional stages the piece went through energetic and rhythmic, enters in the tonic key. The before reaching its final version. Both the hasty melody is divided into two phrases—the first ending handwriting and the abbreviations indicate that the in a half-cadence in measure 10, which is followed by manuscript must have been prepared in a rather short a slightly modified repetition to close the phrase in a period of time—perhaps the result of a (private) full cadence on measure 18. Next, the second, commitment between the composer and the president contrasting subject is introduced in the dominant key. of the Leal Senado? It has not been possible to ascertain With the indication “armonioso”, the second theme is any of these details. performed by the 1st clarinet in , alto sax in , 1st The edition included as an appendix to this article and 2nd trumpets and baritone. It sports an asymmetric standardises the musical text, completing missing period, divided into two parts: the first segment is measures, adjusting the instrumental arrangement to irregular (10 measures, from measures 19 to 28), with current usage, and updating the indications for a fleeting modulation to G minor (provoked by the transposing instruments (the original part of the piccolo, introduction of an , characteristic note of the new for instance, is written for an instrument tuned in , key) in measure 24, ending in the dominant chord long in disuse), which in the original manuscript do that resolves in the following measure to the tonic chord not correspond to the ones currently used in band scores. ( ); the second segment, of 8 measures, is developed For a more detailed account of this edition, please refer from measures 29 to 36. In measure 35, the dominant to the editor’s notes. seventh chord of major ( ), resolves into the dominant seventh chord of major Author’s note: This edition standardises the musical text, completing missing measures, adjusting the instrumental arrangement to current usage, and updating ( ) in measure 36, re-introducing the basic the indications for the transposing instruments, which in the original manuscript key of major in preparation for the repetition. does not correspond to the one currently used in band scores. Italian names of The second section (Trio), is more melodic and instruments were chosen throughout, even though English names such as “Horns” and “Basssons” are found in the source. In measure 2, the first word in the “feminine” in character, being in the subdominant key. indication of tempo is not fully legible. It is not possible to ascertain without An asymmetric period is divided into four phrases: The doubt whether the composer wanted to indicate “molto energico” or “allº [allegro] first is 8 measures long and develops from measures energico”. However, it seemed that the indication “molto energico” was more in line with the rhythm’s design. I also added metronome markings, besides 37 to 44; the second is 10 measures long and develops introducing some dynamic and articulation signs. In the original, the form of from measures 45 to 54, with a fleeting modulation to the piece is not well notated, so a repetition in the first section had to be added, the key of C minor; the third lasts 8 measures (55 to as were the indications D.S. al fine and D.S. al coda, which replaced the cumbersome “Ripete come dalla lettera A alla B. pagine 1. 2. 3. e segue Trio” 62); while the last one is also 8 measures, and runs and “Ripete come dalla lettera A per 15 misure e segue Finale”. The expression from measures 63 to 70, concluding in a full cadence “Finale” was replaced by “Coda”, more appropriate to the solution I have adopted.
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NOTES
1 Jerónimo Maria Braga (1854-1914), organist of Macao Cathedral. Archive, asked me to prepare a modern rendering of score based on See Jorge Forjaz, Famílias Macaenses, vol. 1 (Macao: Fundação Vela’s autographed manuscript housed there. After being revised, Oriente, 1996), p. 584. This waltz appears for the first time in the edited and processed by computer, copies were distributed to various programme of the Banda de Música da Guarda Policial de Macau, institutions, among them the Macao Police Band, which performed published in the Boletim Oficial do Governo da Província de Macau it for the public in June 1998. However, it must be mentioned that e Timor, no. 51, 22.XII.1892, p. 492 [henceforth: BO]. There is also there is no information to the effect that this anthem was ever a reference to the waltz “Adelaide”, also by Braga, performed by the officially adopted by the Leal Senado. Such is the only way to Banda de Música da Guarnição de Macau on August 18, 1904. understand the fact that it was not presented in public for so many Boletim Oficial do Governo da Província de Macau, no. 33, 13.VIII. decades and was thus eventually forgotten. Even so, when looking 1904, p. 258. for information on the internet about composer Melchor Vela, I 2 This work first appears without mention of the composer in the was surprised to find the following reference: “The Hymn of Macau, concert programme of July 10, 1902, performed by the Banda de which is the unofficial city anthem of the City of the Name of Música da Guarnição de Macau and published in the Boletim Oficial God, Macau, was composed by Macanese [sic] musician Melchor do Governo da Província de Macau, no. 27, 5.VII.1902, p. 225. Vela in 1896, as a ‘dedication to all citizens of Macau’. The anthem However, in another programme, found in BO no. 49, 5.XII.1903, was performed by the Brass Band of the Macao Public Security pp. 371-372, it was possible to identify the author as Eusébio Placé. Police in June 1998, during a City Day event.” [Referring to the The “Expedição a Macau em 1900” by Eusébio Placé quickly June 24 Municipal Day]. “Hymn to Macau” [Internet], available entered the band’s repertoire and was performed at least six times from
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a first-rate singer, Italian by nationality and, what’s more, married from January to December 1941, he was Director of the monthly to a “maestro” with a solid reputation]. Arquivos de Macau, publication whose aim, according to Manuel 13 “Disse o vereador Presidente que o maestro Vela compoz um Hymno Teixeira, was the “reproduction of documents of historical interest de Macau e offereceu-o ao Leal Senado, escrevendo elle proprio a found in the colony’s archives.” According to some commentators, musica para o piano, bem como a partitura para a banda, e elle he was also a great collector, counting in his private residence a Presidente tinha muito prazer em apresentar esse trabalho aos seus vast collection of Chinese porcelains, festival programmes, recitals, collegas. O Leal Senado resolveu acceitar esse delicado brinde e liturgical texts, books and diverse documents recovered during his que seja consignado um voto de agradecimento ao referido maestro many visits to the city’s antiquaries. Regarding the fact that the Vela, a quem se deverá officiar n’esse sentido, communicnado-lhe manuscript of Melchor Vela’s “Macao Hymno” ended up in his ao mesmo tempo a resolução que o Leal Senado toma de mandar hands, I believe three explanations may be possible: that it was via tirar uma copia para mandar lithographar e bem assim outras copias his connection with the Salesians, who had a band at the Orfanato para popularisar esse hymno”. Minutes of the council session of da Imaculada Conceição; that he acquired it at one of Macao’s many March 10, 1897. Arquivo Histórico de Macau [henceforth: antique shops; or that he came across it in the course of his duties ArqHistMo], Fundo Documental do Leal Senado, ref. AH/LS/360, as Director of the Arquivos de Macau. For more information, see microfilm A0193, p. 68. Also published in the newspaper Echo Pedro Dá Mesquita, “Padre Sarmento: o capelão descontraído” Macaense, 28.III.1897, p. 2. [Father Sarmento: the Easygoing Chaplain], Revista Macau 36 14 “Foi lido o officio do comendador Melchor Vela significando quanto (1995), pp. 57-66 and Manuel Teixeira, Imprensa Periódica se acha penhorado pelo bom acolhimento que foi feito ao brinde Portuguesa no Extremo Oriente, facsimile of the first edn. (Macao: que offereceu ao Leal Senado, e declarando que na qualidade de Instituto Cultural de Macau, 1999), p. 135. filho de um povo amigo, visinho e irmão até nos fastos gloriosos da 17 “Lista de códices do Arquivo do Leal Senado da Câmara de Macau, historia, teria sempre muita satisfação em testemunhar ao Leal recebida do Leal Senado em 1979” [List of codices of the Leal Senado pelos seus serviços, os seus sentimentos de veneração e Senado’s archives, received in 1979 by the Historical Archive of admiração”. Minutes of the council session of April 28, 1897, Macao]. Arquivos de Macau – Boletim do Arquivo Histórico de Macau, deposited in the ArqHistMo, Fundo Documental do Leal Senado, vol. 1 (January 1981), p. 34. ref. AH/LS/360, microfilm A0193, p. 82. Also published in the 18 Arquivos de Macau – Boletim do Arquivo Histórico de Macau, vol. 2 newspaper Echo Macaense, 23.V.1897, p. 2. (July-December 1983), p. 24. 15 Version recounted by J. A. Pinto de Sá in the article “A propósito 19 Ibid. de um manuscrito”, Arquivos de Macau – Boletim do Arquivo 20 It is possible that some of these documents were destroyed during Histórico de Macau, vol. 2 (July-December 1983), pp. 134-135. the incidents of December 1966. The Leal Senado was attacked by That same issue of the bulletin contains, between pages 136 and a crowd, which burnt part of the archives. On 3 December 1966, 148, a full photographic reproduction of the manuscript. stimulated by the excitement of the ongoing Cultural Revolution, 16 The chapter António Maria de Morais Sarmento (1896-1958) was a large group of students and teachers from local pro-China born in Viana do Castelo, Portugal, and at the age of 18 left for the secondary schools gathered next to the Praia Grande palace, seat of Far East. He remained in India for two years and in 1896 came to the Macao government. In an attempt to restore order, Governor Macao as an attendant to Bishop Dom José Manuel de Carvalho, Nobre de Carvalho (Governor of Macao, 1966-1974) decreed and enrolled in St Joseph’s Seminary to conclude his religious martial law and a compulsory curfew. Rioting continued until the studies. He was ordained in 1905 and thereafter exercised countless next day; the army was ordered to intervene and began patrolling activities in the Macao diocese. As Secretary to the Bishop of Macao, the city, but was unable to prevent more skirmishing. The final toll in 1906 he received the committee of Salesian priests who came to was eight dead, 160 wounded and 45 arrests. The incidents ended take charge of the Orphanage of the Immaculate Conception. In on January 29, 1967, when Portugal apologised and acceded the 1908 he was appointed a member of the Directors Commission of demands made by the demonstrators. The events have become that same orphanage, and in 1910 was designated parish priest of known as the “1, 2, 3” Incident, as they began on the third day of Coloane Island. That same year, upon proposal by King Manuel II the 12th month. For more information see José Pedro Castanheira, (r. 1908-1910), he was appointed chantre of the Macao Cathedral. Os 58 Dias que Abalaram Macau (Lisbon: Publicações Dom He also worked in journalism; from June 1929 to July 1931, and Quixote, 1999).
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2005 • 16 • Review of Culture 73 MEMÓRIA E IDENTIDADE / Antropologia Cultural
Representação popular de Magu, in L’imagerie populaire chinoise, Éditions d’Art Aurora, S. Petersburgo. 1988.
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Paibian, Jinqi e Jingkuang Dísticos Laudatórios Chineses do Espólio do Dr. António do Nascimento Leitão
ANA MARIA AMARO*
INTRODUÇÃO Em todas as comunidades agrárias é possível encontrar, quer muito viva quer vestigial, a ideia do culto do sobrenatural. Numerosos são, por isso mesmo, os espíritos ou divindades respeitados ou cultuados independentemente do credo religioso dominante. Na China, onde o Budismo e o Tauismo de há muito se confundem no pensamento e nas práticas da religião popular, inumeráveis são as figuras antropomorfizadas do seu panteão, enriquecidas com as mais diversas variantes regionais. De acordo com Tong Fong-Wan (1988), professor da História da Religião em Taipei, estas crenças são as “manifestações temporais de uma larga e contínua tradição”. De facto, na China do Sul, principalmente em Guandong e Fujian I onde foi mais acentuado o contacto de culturas diferentes e o isolamento de várias populações e mesmo de diferentes grupos étnicos minoritários, este fenómeno encontra- -se particularmente vivo, sendo muito mais rica a constelação de divindades que povoam o seu imaginário
* Professora catedrática jubilada do ISCSP/UTL (Lisboa) onde exerceu docência e que tornam mais complexa a leitura da estatuária de várias cadeiras da Licenciatura em Antropologia e Mestrados. Actualmente dos templos e dos santuários locais. exerce a docência de cursos de pós-graduação e é directora do Centro de Estudos Chineses do ISCSP/UTL, cargo que exerce desde 1998, e professora É notável a característica antropomórfica de Instituições Culturais da China do Curso Livre de Língua e Cultura Chinesas. conferida a muitos espíritos tutelares, tais como
Ana Maria Amaro is a retired Professor of ISCSP/UTL (Lisbon), where she taught “promotores de riqueza”, “protectores de crianças”, several subjects pertaining to the Anthropology course, and Master’s degrees. “protectores de colheitas”, “guardiões do solo”, capazes Today she teaches at post-graduate level, and has been the Director of the Centre for Chinese Studies at ISCSP/UTL since 1998. She also lectures on the Cultural de promoverem felicidade, fertilidade, honrarias, saúde, Institutions of China for the Studies in Chinese Language and Culture course. riqueza e mesmo longevidade.
2005 • 16 • Review of Culture 75 ANA MARIA AMARO
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Além destes, são inúmeras as personagens budista pu sa =Guan Yin==(Kun Iam, em históricas transformadas em “heróis divinizados”, como cantonense), a “Misericordiosa ouvidora das nossas é o caso de Guan Di , o famoso general que se preces”. notabilizou nos recuados tempos do Período dos Três Uma das classificações mais comuns das Reinos (220-265) e que veio a transformar-se num numerosas divindades do panteão popular chinês “espírito vitorioso promotor de riqueza”, entronizado, considera três grandes categorias: ainda nos anos 1970-80, na maioria das casas • Oficial – Divindades detentoras de altos cargos, comerciais chinesas de Macau. governantes e personagens com diversos cargos Além deste Marte chinês tauista, que surge oficiais às quais são atribuídas, por exemplo, muitas vezes acompanhado por Zhang Fei e Liu qualificações de reis, príncipes, generais e altos Bei , é também muito popular uma outra tríade, funcionários; igualmente tauista, constituída por Fu Xing I • Familiar – Divindades que são reconhecidas por Lu Xing = e Shou Xing Gong , três “damas”, “donzelas”, ou respeitosamente tratados espíritos estelares promotores de ventura, prospe- por “avô” ou “avó”; ridade e longa vida. Porém, não são apenas populares • Espiritual – Divindades estelares tauistas e invocadas divindades masculinas, outrossim algumas antropomorfizadas, capazes de fomentar a boa femininas, tais como Gin Hua , Flor dourada ou a má sorte (os xing= ) e os populares (Kam Fá, em cantonense), protectora das crianças, a “imortais” que atingiram a perfeição pela sua vida Concubina Celestial Tian Fei ,=protectora dos edificante (os xian=) mareantes, e a misteriosa imortal tauista Magu , De acordo com esta concepção popular, a acompanhante de Xi Wang Mu . Estas eram, hierarquia das divindades tauistas do panteão popular sem dúvida, pelo menos até há pouco tempo, as mais da China do Sul pode representar-se de forma veneradas divindades em toda a China, além da esquemática por uma pirâmide:
Imperador do Jade (O Senhor do Alto)
Espírito estelar do Pólo Norte Espírito estelar do Pólo Sul (equivalente a ministro) (Shou Xing Gong) (equivalente a ministro)
San Qing Os Três Magistrados
Magistrado da Água Magistrado da Terra Magistrado do Céu (Tu ti gong )
Espíritos tutelares da Terra Wang Ye Divindade tutelar das cidades O Senhor da região Protector de cada local
Divindades patronas de várias profissões Divindades diversas cultuadas em diferentes localidades e protectoras dos indivíduos que as invocam e neles crêem (míticas e lendárias) Divindades estrangeiras (Jesus, Maomé) e líderes políticos cultuados pelo povo, por ex. Mao Zedong)
76 Revista de Cultura • 16 • 2005 ESPÓLIO DO DR. ANTÓNIO NASCIMENTO LEITÃO
MEMORY AND IDENTITY / Cultural Anthropology
Desta infinidade de grupos de divindades, as mais diversos países de acolhimento, de acordo com os usos diversificadas e mais populares são os “espíritos” das regiões de onde são naturais. considerados “patronos”, dos quais os mais venerados A eficácia destes rituais depende, como é óbvio, na China do Sul são: da crença de quem os pratica. E isto porque cada pessoa • Shen Nong – o Divino Agricultor, um dos escolhe a divindade mais respeitada na sua terra natal, supostos imperadores míticos da dinastia Xia pedindo-lhe protecção ou ajuda na resolução dos seus (que remonta ao período Neolítico chinês), problemas, por ocasião de crises económicas, catástrofes patrono da Agricultura e da Medicina; naturais ou doenças, principalmente infantis. Quando • Guan Di – o Marte chinês (herói de San Guo Yan os que pedem alcançam a graça pretendida, os chefes Yi !, [História dos Três Reinos]), de família e em especial as mulheres, que são as suas representado com a cara vermelha própria dum principais zeladoras junto das divindades, oferecem- herói corajoso e leal e empunhando a famosa -lhes grande quantidade de “incenso ardente” sob a alabarda das sete estrelas, muitas vezes forma de molhos de pivetes ou de grandes pivetes acompanhado pelo general Zhang Fei, de rosto espirais que, nos templos, se suspendem do tecto, diante negro, e pelo Senhor do Estado de Wei , Liu Bei dos altares onde aquelas se encontram entronizadas. , e Lan Caihe , patrono dos músicos; Pelas paredes e colunas dos templos colam também • Luo Chou – patrono dos barbeiros; papéis votivos com agradecimentos, súplicas ou • Tien Fu Yuan Shuai ! – patrono dos promessas mais ou menos expressas. E se a pessoa que actores; pede uma graça é abastada, obtendo o favor que pediu • Zhang Tian Shi – patrono dos exorcistas; num momento de grande aflição, além do incenso e • Ma Shen – protectora contra a varíola; de pivetes laudatórios, as oferendas são porcos inteiros • Jiang Tai Gong – protector contra todas assados, vistosos e caros painéis esculpidos em madeira as más influências. ou pendentes de seda finamente bordados, à maneira Em religião popular são atribuídas às divindades de ex-votos para ornamentar os altares-residências do moradas que podem ser templos, capelas, simples espírito protector que foi invocado e que ouviu as altares de rua ou mesmo altares domésticos. Todas elas preces. têm igualmente fixados os dias dos respectivos Dentro deste mesmo pensamento de “dom” e aniversários, dias em que se realizam as festividades “reciprocidade” das boas relações entre pessoas tal como em sua homenagem (os dan ). Nestas datas deverão entre pessoas e divindades antropomorfizadas, são estas ser cultuadas pelos devotos que lhes oferecem incenso, ofertas votivas, com frases de louvor, aquelas que tabuleiros com chá ou vinho (no caso de serem budistas também em caso de cura de doença difícil são oferecidas ou tauistas respectivamente) e as mais diversas iguarias não só às divindades invocadas nos momentos de aflição servidas em tigelas de sacrifício. Acendem-se velas mas também enviadas aos médicos, sob a forma de vermelhas de sebo (la zhu ) em sua honra e dísticos laudatórios sob as mais diversas formas. queima-se vestuário simbólico em papel colorido e De facto, em Macau, perdurava ainda nos anos xilografado bem como simulação de dinheiro sob a 1970-80 este antigo uso. forma de sapecas em papel, imitações de papel-moeda, Comparemos alguns destes dísticos que e ainda “papéis ouro-prata” dobrados com a forma de encontrámos no templo de Guan Yin em Macau com lingotes. Estes papéis rituais, aliás, não são oferecidos os que foram oferecidos ao Dr. António do Nascimento ao acaso pois, uma vez queimados nos grandes Leitão por curas difíceis obtidas e que se encontram no incensórios dos templos ou na rua, às portas das casas, seu espólio legado ao Museu de Aveiro. pelas mãos de mulheres devotas, devem chegar aos seus destinatários transformados em fumo que, em volutas EXEMPLOS DE DÍSTICOS DO TEMPLO em direcção ao Céu, torna por vezes quase irrespirável DE GUAN YIN GU EM MACAU o ar nas pequenas capelas. Estes rituais populares são uma evidente expressão de identidade comunitária, I. Chang fan=(cheong fan) ou heng ren (wang iam) uma vez que os grupos de emigrantes continuam a Grandes bandeiras ou faixas em cetim sob a praticá-los, ou pelo menos a respeitá-los, nos mais forma de estandartes, sanefas, cortinas ou frontais de
2005 • 16 • Review of Culture 77 ANA MARIA AMARO
MEMÓRIA E IDENTIDADE / Antropologia Cultural
altar com pendentes em forma de gravata com dedicatória e o nome do ofertante, ostentando geralmente a meio frases laudatórias bordadas a fio de seda ou metalizado: Dístico dedicado a Guan Yin !=pu sa Guan Yin !"#$ da ci da bei pu sa Guan Yin (toda bondade e toda misericordiosa) Noutro dístico bordado sobre cetim vermelho pode ler-se: !=ci hang pu du, isto é, socorre todos em geral, numa evocação da sua infinita misericórdia e popularidade.
II. Seng bai =(dísticos de súplica e veneração) São papéis votivos vermelhos sobre os quais os devotos escrevem as suas petições e que colam nas paredes dos templos ou nas colunas de suporte. Por vezes são substituídos por placas laudatórias em madeira pintada, gravada ou em talha dourada. São princi- palmente do tipo paibian=. Seguem-se dois exemplos de placas votivas deste tipo, gravadas em madeira, formando um dui , o primeiro par suspenso das colunas da capela principal de Guan Yin Gu Miao !=(Kun Iam Ku Miu) e o segundo, numa das paredes laterais, colocados frente a frente: !"#$%&'=zhao ri yue yi wei deng ci guang pu zhao = !"#$% hu yun yu er zuo yu eng ze xian fu O primeiro destes versos significa: “A luz que (Guan Yin) emite é mais brilhante do que a luz do Sol e da Lua; Pode assim iluminar toda a Terra com a luz da sua bondade”.1 O segundo, que completa o primeiro, diz-nos: “Podendo comandar as nuvens e as trovoadas, para as transformar em chuva, pode beneficiar, assim, toda a Humanidade.”2 No vizinho templo dedicado a Guan Yin, o Guan Yin Tang =(Kuan Iam Tong) em Mong Há são muito mais numerosos os dísticos laudatórios de todos os tipos: paibianI jinqi= e jingkuan .
do Guan Yin Tang. Yin do Guan Para comparação, apresentamos um dos pares de paibian da capela dedicada a este pu sa todo paibian misericordioso, oferecido por um devoto de apelido
Par de Par Li =(Lei, em cantonense).
78 Revista de Cultura • 16 • 2005 ESPÓLIO DO DR. ANTÓNIO NASCIMENTO LEITÃO
MEMORY AND IDENTITY / Cultural Anthropology